Sep 112015

Brief Encounters with the Leica M & Noctilux

By John Tuckey – See his website HERE

Nothing provides dramatic effect quite like a classic train scene. The half-empty carriage loaded with intrigue is a key Hitchcock device. Steam-wreathed platforms give Brief Encounter emotional tension on a grand scale. And where else, but the ridiculously romantic Gare du Nord, could Anouk Aimee have finally thrown off her angst and thrown herself into Jean-Louis Trintignant’s arms in the closing scene of A Man and a Woman? Unfortunately they don’t make rail travel like they used to.

My goal was to create a set of deeply atmospheric noir shots, intimate yet grand and tapping into a rich seam of old school Hollywood drama and elegance. As it turns out it’s not something you ‘just find’ and it needs more than a little planning – with a couple of false starts thrown in, it took me a total of 8 months to get access to the perfect location and an appropriate model aligned.



For a model, I was after more Ingrid Bergman than Grace Kelly, and I wanted styling to evoke the very feminine masculinity of Orry-Kelly’s women’s tailoring c. 1945. After some searching, I found the perfect coat and hat on ebay – an endless source for vintage clothing and less time-consuming than dealers and flea markets – the luggage, I already had.

Surprisingly, finding a period railway location in the UK was the easy part. Thanks to the efforts of enthusiasts all over the country there are still several beautifully preserved working railways, charming stations and impeccably restored trains.


I didn’t need a quaint station platform or too much intricate background detail. But I wanted steam-wreathed shots and authentic steam wasn’t an option – too time-consuming and unrealistic to expect a real train all stoked up on demand. So I knew I’d need a smoke machine and a partially enclosed set that would fill quickly and realistically with the smoke.

Recceing a location in advance is always good. You then get at least an idea of what lights to bring, what available light you have and what your limitations are in terms of space. Setting up and lighting is much easier and you’re aware of any potential issues beforehand. It turns out a carriage shed in Didcot was just what I needed: semi-enclosed, full of lovely old rolling stock, very fillable with fake steam.


The Shoot:

After months of planning and delays, finally the big day: Location? Check! Model? Check! Hair and makeup? Check! Smoke machine? Check! Camera, batteries, cards, lights? Check! Shot list? Check!

Working on location, it’s essential to know exactly what you want for each shot in advance so you have everything on site. You can’t plan for the unexpected, but if you have set parameters, you know what you want to achieve and you can work efficiently within your timeframe.



Actual shooting time? it took less than 2 hours, to pace, check, rehearse, shoot, trigger the smoke machine and shoot again. The rest of the day? 1 hour travel each way, 2 hours in hair and makeup, 30mins lugging kit and props across site to the location, setting up and breaking down.

The smoke machine was worth its weight in gold, It took less than 10 minutes to fill the shed with ‘steam’, radically altering the contrast of the scene and the nature of the images as it did so. Well worth it.


If there is a single piece of advice you take from my experience … I hope it’s to forget ‘f/8 and be there’, because sometimes ‘Preparation is everything’.

Best regards

John Tuckey

Jul 292015


A Mega Leica 28 Summilux f/1.4 Lens Review

by Kristian DowlingSee his BLOG HERE!

Review disclaimer:

*Lens was used entirely at f/1.4 for the entire review, in every picture unless stated otherwise.

*No protective filters were used.

*Editing was kept as simple as possible in Lightroom, with no clarity added/subtracted to maintain the lens’s true signature.

*This is not so such a technical review, but more so focused on the lens in field-use.

*Pictures are meant to represent a variety of achievable results, typical of the average Leica M user (nothing overproduced).

*No distortion or lens correction tools have been used.

*Special thanks to Leica Camera Australia for the loan sample.

I can’t express how excited I was when Leica announced the limited edition M100 set, commemorating Leica’s 100th Anniversary, with a new Summilux-M 28/1.4-ASPH lens in chrome, a little over a year ago. I’ve been lusting after a 28/1.4 M lens since I started M photography some 21 years ago. I knew it was only a matter of time before it would become a regular production lens, and I’m very happy that it has finally come to fruition.

My experience with the 28mm focal length has been quite extensive over the years. My first experience with using a 28mm prime came in the Nikon 28Ti compact film camera, followed by the Ricoh GR and the Nikon AF-D 28/1.4 lens, which at the time delivered fantastic results (at the time). Fast forward to 2015, and we now have the ultimate (and only) ‘fast’ 28mm lens ever produced – the Leica Summilux-M 28/1.4 ASPH lens.

Image shot with Summicron-M 28/2 ASPH on Monochrom


I first got to see this lens at the Australian Leica Q launch last month, and was lucky enough to have been lent the only Australian copy for the last month (no pressure for a good review). During this time, I have been able to use it in many different situations, over a variety of genres, which you will see throughout this user-review. The 28mm focal length isn’t easy to get along with, but once you get to know her, she becomes a very, very versatile focal length – probably the reason why Apple employ it in their iPhone 6 and 6 PLUS smartphones, making it the most used focal length in the world.


It may come as a surprise that Leica is focusing their two latest products (including the Leica Q camera) on the 28mm focal length, but in my opinion it is a very smart move. There is no shortage of great 35mm lenses, and while the Summicron-M 28/2 ASPH is an excellent lens with a very smooth character, the ability to isolate doesn’t make it stand out amongst a lineup of fast class-leading lenses, like the Noctilux for example. Leica are arguably the best in the 35mm-format game when it comes to lens design, quality and performance, so it is important for them to showcase their abilities – and the new Summilux-M certainly makes a strong statement.

Previously, there were a couple of 28mm options in Leica’s lineup, and all have their unique place and usage intentions. The previous models were all mainly focused on the Elmarit as the demand for fast 28mm lenses only came about in the last decade. All previous generations of the Elmarit-M were fantastic, with the quality really stepping up in V3, where wide-open performance was significantly improved across the frame. Currently, the two Leica-M lens alternatives to the Summilux are:

· Elmarit-M 28/2.8 ASPH – small compact, well-priced and well-controlled distortion. Great for the traveller who doesn’t need speed and is more focused on keeping their gear lightweight, compact and values the lack of distortion over speed.

· Summicron-M 28/2 ASPH – A nice mix of speed, performance and size in this compact lens that is a nice jack of all trades, known for it’s smooth character due to the transition from sharp to soft wide open.

Build Quality and Design

As expected, everything about the 28 Summilux-M is typical Leica. Superb German, handmade craftsmanship, along with great handling and smooth focus and aperture action. It only comes in black (currently), most likely to keep M100 kit owners happy with their unique purchase, but knowing Leica, I would expect them to release a chrome version sometime in the future. The size fits directly between the 35 Summilux-M and the 24 Summilux-M, which was really good to see. The initial fear was that it was going to be very similar to the 21/24 Summilux-M lenses, which are a little on the large and heavy side, bordering on Noctilux territory. Thankfully, it’s not much bigger than the 35 Summilux-M so it’s great as a carry-everywhere, everyday lens, and balances really well on the M body.


The newly designed lens hood is similar to that on the 35-Summilux-M, only a little thicker which is a nice change, and screws in firmly and perfectly aligns right on the center as it should. I’m happy to report that during the last 5 weeks using this lens, it has never come loose. Finally, it has the typical Leica depth of field scale, which is very important to those who employ the hyper-focal focusing technique, which works very well on a 28mm lens due to the extended depth of field over standard and telephoto lenses.

Optically, this is what Leica has to say about the new Summilux.

“The Leica Summilux-M 28mm f/1.4 ASPH. rounds off the range of high-speed M wide angle focal lengths. It offers exce lent image performance over the entire image field even at full aperture and in the close-up range thanks to a „floating element“. With its exceptional contrast, the lens delivers the same recognized high performance level as the Leica Summilux-M 35mm f/1.4 ASPH., and in some respects actually outperforms it. The vignetting that is typical of every optical system is naturally more defined on a wide angle lens, particularly a high speed one like this, than on standard lenses or those with a long focal length. At full aperture in 35mm format it is a maximum, i.e. in the corners of the image, of around 3.4 stops, around 2 stops on Leica M8 models with their slightly smaller format. Stopping down to 5.6 visibly reduces this light falloff – to 1.8 and 0.8 stops respectively. Stopping down further does not bring about any notable reduction as essentially only the natural vignetting remains. Distortion is extremely low for a wide angle lens at a maximum of 1.1% , which is rarely noticeable in practice. A total of ten lens elements are used to achieve this exceptional performance. To correct color defects, seven of these are made of glass types with anomalous partial dispersion, while one has an aspherical surface. To maintain performance in the close-up range, one element towards the rear of the optical system is a “floating element” that moves independently of the rest of the mechanism.
Summary: The Leica Summilux-M 28mm f/1.4 ASPH. offers maximum image performance with a focal length / speed combination previously unavailable in the M system. This extends the composition options of M photography, particulaly for available light shots, but also thanks to a previously unattainable reduction in the depth of field combined with large field angles.”

Here are the graphs important to you techy-geeks out there. The MTF especially suggests that performance wide open is incredible, and equal to many other brand lenses stopped down to their best. This is truly where Leica stands above the crowd.


Depth of field at f/1.4 is very narrow, but compared to what many are used to with 35mm, there is a little more room for error, and allows greater possibilities in certain situations where having focus is more important than not.


Depending on how picky you are, the chart suggests excellent distortion control, and when you consider the speed of the maximum aperture, this is a design Leica should be very proud of, at least on paper. In the field ‘could’ be entirely different (though it is not haha).


> Keep reading to see how Leica’s words translate into image quality during my field test.


Due to the size and weight distribution, the lens handles wonderfully on the M, enabling focus and aperture changes to be smooth and accurate. I have a full production sample, and the focusing action is even smoother than most 35 Summilux’s I’ve used. I believe ‘perfect out of the box’ would be an accurate description. You do notice a weight increase over the smaller 35 Summilux-M but it’s not a lot more and the size is comparable in operation. In fact I found the 28 more comfortable to use than the 35 because of the slight increase in length, making focusing and aperture changes easier with my medium sized hands. As the lens hood is screwed in flush with the lens, changing the aperture is very easy, compared to previous Elmarits and Summicron that use a large plastic clip-on hood.

Leica M | Summilux-M 28/1.4 ASPH


Leica M (Safari) | Summilux-M 35/1.4 ASPH


Leica Q | Summilux-M 28/1.7 ASPH


In the Field

The 28mm Focal Length

Those who don’t have much experience using the 28mm focal length may need to be patient with this lens. Some say it’s too wide and others say it’s not wide enough, and the others say it’s too ‘in-between’. A comment I’ve been hearing a lot lately (since the Q’s introduction), is ‘28mm is the new 35mm’. Well I’m not so sure I totally agree with that, but considering the iPhone has a 28mm (approx) focal length and has the most used camera in the world, there is some argument that suggests the comment isn’t so far fetched. Back when the great Henri Cartier Bresson was roaming the streets of Europe, the 50mm focal length was the norm. Later, photographers started getting closer to their subjects and preferred the wider frame of the 35mm focal length. Considering today’s style of shooting (including paparazzi), it’s understandable how the 28mm focal length has several advantages over 35mm.

Firstly, it is wider, fitting more into the frame than 35mm at the same shooting position, also creating a slightly more dynamic ‘in-your-face’ perspective, if used correctly. You can also get closer to your subjects, while fitting more background into the frame, giving you more compositional options. Having said that, this may not be an advantage, depending on your style of shooting. The one thing I’ve always loved about shooting with the 28mm focal length is that it’s the widest focal length you can shoot without having to worry too much about tilting or placing subjects/objects on the side of the frame. When you go wider to say 24mm or 21mm, perspective distortion becomes a real issue, making it quite annoying for documentary purposes. While the 28mm perspective does come with some distortion, it is tolerable, and even when tilting, it is negligible and I have no issues with placing my subjects off-center.

Simple Model Shoot

Shooting with the 28 Summilux-M for portraits takes some getting used to, especially for 35/50mm users. The angle of view is extended quite a bit for only 7mm, giving much more depth of field and background to work with. Nailing focus is quite easy as the f/1.4 aperture is more forgiving at 28mm due to the increase in depth of field, but the drop-off from sharp to unsharp isn’t as abrupt as say the 35 Summilux-M.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot  at f/2.8 on the Leica M240


The colour signature is as you would expect from most Leica lenses – very neutral, and with medium to high contrast, but in these samples bear in mind that the light was strong, emphasising the contrast even more. When the light gets low, this is when the 28 Summilux-M really shines.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


General Photography

For general street and travel photography, the 28mm focal length is an ideal choice as you don’t often feel limited for a majority of scenarios, unless shooting architecture or grab shots of people from a distance is your thing. The lack of distortion for such a fast wide angle lens is quite impressive and never felt it hindered my pictures of building etc. If you don’t like tripods, this lens will delver. At f/1.4, sharpness is already close to it’s maximum resolution so there is never a compromise in sharpness throughout the f/1.4-f/11 range, and at certain distances, the f/1.4 depth of field will provide adequate focus throughout the entire image.


BELOW: Crop from image above


As you can see here, there is some viewfinder blockage which is a bit annoying, but not a deal breaker. While some may prefer to use an external finder which gives not only as clean view, but an accurate perspective of distance and framing, they are a hassle if you’re shooting in situations that require speed.


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Below: Crop from image above


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Below: Crop from above image


There is some field curvature, but at further distances this is not a problem, and in this image the entire frame is sharp at f/1.4 – quite amazing!

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Bokeh is very, very smooth, much like the Summicron-M 28/2 ASPH, except at f/1.4, the focus drop-off is much more dramatic and compelling for times where you’re trying to isolate your subject from a background.

Shooting in a nightclub with screaming fans for UK pop star Craig David was no match for the 28 Summilux-M, delivering crisp images, even against backlights and fairly poor lighting……oh and did I mention it’s damn sharp too?!?

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


It wouldn’t be a Leica review without at least one cat or flower picture right?!? Well considering I’m a cat-lover, no flowers were shot during the testing of the 28 Summilux-M.


Below: Crop from image above


Shooting with the 28 Summilux or any 28mm on the Leica M can be a bit frustrating due to the incorrect perspective you see through the built in finder, which is more suited to the 35mm/50mm focal lengths. When you first start shooting a 28mm lens on the M, you need to remind yourself that you’re further away from your subjects than how it looks through the viewfinder, so getting closer is important.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


CROP from above image:



Shooting as a Wedding Guest

I was fortunate to be the guest at a very special wedding of two very good friends, Lawrence and Tukta, in Hua Hin, Thailand. Lawrence is also an avid Leica user and owns an M60, so the pressure was on to capture a couple of nice moments before the alcohol got to me, hehehe. Here Lawrence is seen waiting for the wedding to begin.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240




Using the 28mm Summilux-M at a wedding all day was a real treat. I love to get up close to my subjects and combined with the stealthy M, I was able to move in and out of places without people looking directly at the camera or feeling intimidated by the usual large and loud SLR cameras seen in these scenarios.

I found that my hit rate of in-focus shots was at about 90-95%, which is a little higher than my normal 85-90% on the 35 Summilux-M. Obviously the increased depth of field at f/1.4 helped significantly.



Crop from above image:


I’m not a wedding photographer, but like any documentary work, there are always those little moments happening around the bride and groom you need to look out for. Here, I love the way the focus drops off to a smooth background, and while I don’t condone shooting wide open ‘all the time’, I do enjoy keeping this lens at maximum aperture most of the time.

Below you can start to see the effects of distortion creeping in on the top corners, but it is totally fine in my opinion, and is more so due to the tilting, rather than the geometric distortion occurring.


It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.


It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.



Due to the mixed lighting I found that the final two images look better in Monochrome. For the first I pre-focused on someone in the crowd and waited for the subjects to hit their mark before firing, ensuring accurate and sharp focus. What a great end to an amazing weekend!



Muay Thai Camp – Coaching One-on-One

As a photographer and coach, I was employed to train an enthusiastic Thai photographer named Miti. During his training he was using the Leica Q entirely, and I was snapping a few test shots on the M with 28 Summilux-M. I had previously shot a story on this place around 7 years ago and a lot has changed. Please keep in mind this is not a complete story, but a selection of images I shot while coaching my student.


Below: Crop from above image





Below: Crop from above image


While this looks like a slow moving wrestle it was anything but. I was shooting at ISO 1600 with 1/1000sec to ensure sharpness at the plane of focus. Due to the extreme movements I had to prefocus and guess my distance and pray for focus where I wanted it at the time of shutter release. Dare I say it, a majority were out of focus, so I have to say, the M isn’t exactly recommend to those wanting to shoot erratic, unpredictable action. I am pleased to say that my student Miti was able to achieve a good number of sharp in-focus images with his autofocusing Leica Q.



Muay Thai fighters are often viewed as celebrities in Thailand so vanity also comes with the business of winning. Let’s just say the mirrors are used more often than you’d probably expect from young men, capable of breaking you in two.



Below: 100% crop from above image






The previous time I shot a professional Muay Thai fight, I was using an autofocus SLR with a short zoom lens. Using the M and 28mm, my ability to be effective was lessened and I certainly relied more on hope and luck. Luckily my 21 years experience helped me pull out a few keepers.


Compared to the Leica Q

While some may assume this is an unfair comparison (either way), I think the two lenses should most definitely be compared. Unfortunately I didn’t have the time, nor patience to compare side by side – sorry, I’m travelling and working. Though I will give a brief analysis after spending time with both lenses/cameras.

Leica Q_Production_2_cmyk

Firstly, there is no debate that the M lens is superior in sharpness wide open, and there is a more dramatic fall off from focus to blur. Other than that, they are quite similar lenses, though the Q lens has one major advantage. It was not only designed for the sensor it is attached to, but it has processing built into the Q body that corrects the image for any lens limitations, including distortion. Currently, there is no Lightroom profile for the new 28 Summilux-M lens, so any corrections need to be made manually if desired – at least until a profile is released by Leica.

The question on many M users’ minds will be whether to buy the Leica Q or buy the new Summilux-M, which is actually more expensive. My answer is “it depends!” It depends on price (US$1500 difference) or how you like to shoot and whether you want a second camera. Personally I prefer to shoot on an M, regardless of the better sensor used in the Leica Q. Image quality is important to me, but picture quality and the shooting experience is more so. I love shooting with a rangefinder and while it has a lot of drawbacks (compared to the Q) like I experienced in shooting Muay Thai, I still prefer the feel and manual focus elements enough to accept what I cannot change in the M.

Another difference between shooting the Leica M240 and Summilux-M 28/1.4 ASPH vs the Leica Q, is that the Leica Q files come out of camera with more vibrant colours and slightly higher contrast. This may no may not affect your decision if considering either of these two fine tools. Finally, the one major factor to consider is that the Q’s electronic rangefinder not only shows 100% of the frame without lens blockage, but it also shows you the exposure and correct 28mm perspective, whereas the M does not, which can be very frustrating. The Q also has macro focus ability using the maximum aperture of f/2.8, and of course AF, which could be the deciding factor for many.

On the flip side, the constant use of EVF and/or LCD can be draining on the battery, which is quite average compared to most cameras so extra batteries will need to be stocked up. Long story short, if you can afford it, buy both.


My long 21 year wait for the Leica Summilux-M 28/1.4 ASPH has been well worth it. I’ve always been more of a 35mm user, but while the Summilux-M 35/1.4 ASPH FLE is a great lens it’s never really got me excited. It’s sharp and has very neutral rendering but I always preferred the Summicron-M 28/2 ASPH due to it’s soft rendering and smooth character. The new 28 Summilux-M has combined my two favourite lenses into one and delivers big time. The only real flaw I found was that like most lenses, it is prone to purple fringing in high contrast situations, which is easily removed in Lightroom in 2 seconds.

At about US$1500 more than either a Leica Q or a 35 Summilux, it’s arguable whether that figure represents good value for money or being too pricey to consider. From my experience with this lens, and having used lenses like the Noctilux and 50 APO which cost a lot more, I think the Summilux-M 28/1.4 ASPH represents fantastic value for money – considering that value is represented by the effort the user makes to use the lens to the best of their ability. A photographer and his tools are only as good as the opportunities he/she creates with them.

If you are after a fast 28mm M lens, there is no substitute, no alternative available. If there was, they would be trembling with fear because the Summilux-M 28/1.4 ASPH is the real deal. Think 50 APO incredible, and there you have it – it is THAT good!

Be sure to visit Kristian’s Blog HERE!

You can buy the Leica 28 Summilux from any of my top recommended Leica dealers below:

Ken Hansen: Email him at [email protected] Website

B&H Photo

Leica Store Miami

Jul 082015

The crazy colorful world of the LOMO LC-A Art lens

by Huss Hardan

Hello Huffsters!

Brad Husick wrote a nice initial impression piece on the new LOMO LC-A Art lens. A pancake lens, rangefinder coupled for M mount cameras. Which also means that with adapters it can be used on almost anything.

It’s the cheapest, new with full warranty (2 years) M lens currently available. The parts come from Russia (nothing like your Nikon D610), and the bits are assembled in China (just like your Nikon D610).




Anyway, enough of the small talk. What’s it like? Well….it’s meant for use on film cameras which is what I really bought it for – to use on a Leica MDa (a Leica M4 without a rangefinder or viewfinder). So on a digital Leica like my M it will smear in the corners just like any wide-angle non Leica manufactured lens (think most Cosina Voigtlanders). It will give wild colour casts and deep saturations. It will give sharp results in the center, not so much away from it. It will give some hefty barrel distortion.





Much of this – the colour casts, the distortion – can be fixed post. But that defeats the purpose of this lens, as if you are going to do that you will just be left with a mediocre boring lens. Instead of a mediocre interesting lens!

It is the flaws that what make it, and so should be embraced. Otherwise shop elsewhere.

Of note: In the images here I did not boost colour saturation. This is what the lens does. I also noticed that I had to increase exposure by one stop in auto mode on the M.










All images were taken the day I got the lens, down the street from my gallery – – in San Pedro, CA. Come visit us, it’s lovely!

Peace out


Jun 102015


The Leica Q Real World Camera Review

by Steve Huff

When I was told I was being sent the new Leica Q camera for review, weeks before it was to be announced, I was excited. I have heard rumblings and rumors about what this Q could be, and most of it was pretty exciting, and sounded to me like Leica was finally getting it “right”. While I usually do not take stock in Rumor sites (as they have one mission, kill the surprises and to make loads of money) I was hearing some things that I liked about the supposed new “Q”.

It appeared that Leica was finally us, the Leica fans, something very close to what we have been asking for all of these years.

I was  critical of the recent Leica Mirrorless concotions..Leica X-Vario and Leica X, and while I adored the original Leica X1, and loved the X2, the Vario and new X lagged behind for me due to many reasons. I did enjoy the T, VERY much, but it too was not what everyone wanted, so it lagged in sales. So if we look at the recent past 2-3 years Leica has had some not so successful cameras, and I feel that is because they were not listening to their base of users.

YOU must click the images below to see them correctly. DO NOT judge them from these resized soft samples. Click ’em to see them larger and better.


What we asked for and wanted:

A TRUE Mini M. Full Frame. EVF/RF built in. Scaled down from the real M to allow a lower price so more could enjoy the true Leica quality and feel. Simplicity, Beauty and Built by Leica, not Panasonic. 

The First fail for me with the X was no EVF or VF built in. We were forced to buy a $600 external wart of an EVF that killed the looks and usability of the camera. Then there was the sensor size of APS-C. It appeared Leica would never release a smaller true M like camera with a full frame sensor as they would be afraid of hurting their M sales. So they kept releasing APS-C sized cameras, and each one lagged in sales as everyone was crying for full frame, and we were correct to want full frame, as we wanted to shoot our Leica’s but here we are with Sony who released the stunning RX1 and RX1r years ago..without an answer from Leica. To be honest, the RX1 was more leica like than the X Vario and X 113.

One of the main issues with the X Vario and X were the slow and clunky lenses they attached to them (well, the Vario anyway). Clunky, slow in aperture and in AF, these cameras just did not feel “finished”. Sure the lens on the X 113 was and is a Summilux f/1.7 but even so, the fact it was not full frame and had no EVF/VF killed it for me and while IQ was stunning I remember telling myself..“if Leica releases a full frame version of this with a nice fast lens and EVF, look out”!

Enter the new Leica Q

Leica Q_Production_2_cmyk

Well, they have now done just that with the new Leica Q. The Q is a 24 MP full frame camera with a beautiful sensor that can shoot up to ISO 50,000. It has a built in EVF that is quite good and a great LCD on the back. It is not a rangefinder, nor is it an interchangeable lens camera, it has a great fixed lens.  So while it is not the true Mini M we had asked for, it is damn close.

The menus are very M 240 like and very clean and simple. The Lens is a 28 Summilux f/1.7. Not sure why they chose 28mm instead of 35 but I enjoyed having that slight bit of “extra” as I have been getting more and more in to the 28mm focal length. It shoots HD video and man, the color out of this camera is SO SO DELICIOUS. Best color I have seen from any camera since the original X Vario. Always been a fan of the color from the X line, and this Q keeps that color but improves on it slightly.

My 1st look video on the Leica Q. Check it out…

So yes…

I have used and shot with the new Q, and it is beautiful. In fact, for Leica, it changes everything as we now have a full frame M shaped body with fixed lens and EVF all in a pretty polished and finished feeling camera with gorgeous Leica like IQ, pretty fast AF and simple operation. 

YOU must click the images below to see them correctly. DO NOT judge them from these resized soft samples. Click ’em to see them larger and better. 


While only having this camera for a whopping three days, I managed to take it with me EVERYWHERE I went over those three days as I wanted to get as much use with it as possible so I could write this review after having 72 hours with the Q, and wow, for the 1st time in years I am truly “wowed” by a Leica camera that is not an M version! This is good, for all of us and for Leica. 

This little Q has most things I/WE have been begging Leica to make for the past few years:

1. A full frame sensor and a damn good one. The color, detail and tones this camera can produce is stunning. It has the true Leica look with the full frame sensor and fast glass attached. It renders much like an X or X Vario but with the full frame look and rich files.

2. It has a built in EVF, and it is a good one. FINALLY! No need to add on that huge external ugly $600 EVF.

3. It has a fast 28mm f/1.7 Summilux lens, and it is astounding in quality giving that same Leica X vibe but with a creamier rendering and faster aperture.

4. They kept it shaped and styled like an M. This is good as it keeps with the classic Leica design and feel. 

5. The camera is simplicity  – we have a shutter button, aperture on the lens, a macro feature (on lens), fantastic manual focus or pretty fast and snappy auto focus, and an exposure compensation dial (something the M doesn’t even have) and shutter speed dial. We have a movie button as well, and a great LCD on the back. This camera is beautiful in every way and I so want one. In fact, as soon as I tried it I contacted Ken Hansen ([email protected]) and said “Leica’s next new camera, put me on the list for whatever it is and whenever it comes out”. Seeing that I signed an NDA I could not utter the words “Leica Q” I hope he knew what I meant! 


Here are the official stats, direct from Leica:

• 24-megapixel, full frame, CMOS sensor precisely matched to its lens. The Leica Q delivers richly detailed pictures with almost noise-free, richly detailed pictures at ISO settings up to 50.000.

• Fastest autofocus in the compact full-frame camera class. Precision focusing in real time.

• High speed burst shooting. The newly developed processor from the Leica Maestro II series sets an enormous pace in this category with continuous shooting at a rate of ten frames per second at full resolution.

• Integrated 3.68-megapixel electronic viewfinder. The highest resolution viewfinder of its kind displays both the fixed 28 mm view along with focal lengths of 35 mm and 50 mm on demand.

• Conveniently placed functions provide instant access to all the essential controls needed when taking a photo. Not only can you control the focus manually, but the Q is also equipped with a touchscreen that can select a focus point with a simple touch of the fingertip.

• Ability to save two versions of the photograph. The JPEG image files are saved in the selected framing, while the RAW files in DNG format preserve the entire field captured by the 28 mm lens.

• Video recorded in full HD. Depending on the scene, users can choose between 30 and 60 frames per second for video recording in MP4 format. The video setting also features a wind-noise filter which guarantees crystal-clear sound.

• A WiFi module for wireless transfer of still pictures and video to other devices. The app also allows you to remotely control settings such as aperture and shutter speed from your smart phone or tablet. The free Leica Q app to access these features is available on both the App Store and Google Play Store for iOS and Android.

• Free downloadable Adobe Photoshop Lightroom 6. This processing software offers a comprehensive range of functions to enhance and edit your Leica Q images.

• Full range of accessories. Just like the camera, every item in the range of accessories and technical equipment for the Leica Q is functionally designed for easy handling and manufactured from only the finest materials to ensure versatility, reliability, and durability.

The Leica Q, priced at $4,250. 


This mini review will be full of my thoughts on the camera and light on the comparison tests as I only had it for 3 days, and did not have time to do loads of comparisons. In fact, those three days felt like 6 went by so fast. When you are doing something you love and adore, time flies.

What I can tell you is that this Leica Q is stunning in almost every way. Every time I snapped a photo with it and saw it on my display at home my jaw would drop at the color and overall character of this lens and sensor combination.

19506_Leica Q_Screen Protection

Shots that I thought were bad, soft or just not good turned out to be fantastic. I experienced no issues with focus, dynamic range, speed, reliability or ANYTHING. I was having a blast shooting this camera as it was such a joy to shoot. In many ways I felt like I was walking around with a true MINI M, but with an EVF and AF and fixed lens. It was a beautiful thing and when a camera is such a joy to shoot, you just want to shoot, shoot and shoot more. This happens with some cameras and not very often. The M gives me that feeling, the Olympus E-M1 does as well. The Sony RX1, which this camera is VERY close to, does as well.

It is silent, stealthy and also has a touch screen LCD if you want to shoot by tapping the screen and pick you focus point. Works very well. Leica has finally caught up. :)

I loved the Sony RX1 and even made it my camera of the year when it was released. It had that special MoJo about it and it delivered amazing rich quality files. How does the Q stand up to the now 3 year old RX1?

Well, it not only stands up to it, it exceeds it in a many ways and says  “I’m the new premo fixed lens full frame mirrorless champ”! That is in NO WAY knocking the Sony, as it is still today a legend, a beauty and a camera capable of amazing things, better than most modern day cameras. It does need an update though with a built in EVF, better battery life, faster AF, etc. Maybe Sony is working on it right as I type these words ;)

Leica_Day Bag_Atmosphere

But yes, Leica delivers here and gives us a TRUE German made Leica with TRUE Leica images quality and design. Adding the full frame sensor really changed everything as full frame offers richer color, better dynamic range and in many cases better “everything”. It’s a camera that gave me no quirks, issues or problems during my little 3 days with it. The IQ is very different from the Sony RX1 image quality which I felt was organic, rich, delicate but beautiful and WOW. The Leica Q delivers snappier color, a wider angle lens that is slightly faster, and a crispness that I see in Leica X files but with a full frame character. In other words, the IQ is fantastic.



Back to the old RX1..yes, I feel the Q beats the Sony RX1 in many ways. Body style, built in EVF instead of external, AF speed is a bit faster with the Q, manual focus the Q wins as it is just as joyful to Manual Focus as use Auto Focus. Manual Focus feels like true manual focus here.

The other areas where the Q wins for me is color performance and “SNAP”! These Leica files just pop with a crispness and bite that give it that “WOW” factor. Exposure is usually dead on or slight overexposed to give it some glow, and the focus locks on quick with 100% accuracy.

YOU MUST click the images here to see them in much better quality. DO not judge the IQ of these files unless you click them 1st!


Leica seems to have finally created the camera many of us have wanted for so long. Like a true digital Leica CM.  Even in the dark, just shooting by firelight, the new Q had no issues with AF or getting the shot. The camera has an impressive ISO range and while not one of those night time high ISO kings, the Q does a decent job for being a Leica…a brand that seems to lag behind in the high ISO race. Even shooting at ISO 4000 in the dark yielded nice results.





So finally Leica has created the camera I begged for since the original Leica X1. They have come a long way since that little slow poke of a camera that did so well for them. NOW we have a fully featured, matured and highly capable camera that I can see many enthusiasts wanting as it will be much less expensive than buying a true M 240 or M-P and a lens. Maybe 60% cheaper.

Leica Q_Production_3_cmyk

The camera has no issue with sharpness or detail or color…

More images below that when clicked on will show you the color, detail and pop that the Q puts out.








ISO Performance

Below are some samples from ISO 1600 to 50,000. When I get the camera for a longer loan (or when I own it) I will do a more comprehensive set of tests and comparisons. But take al look and click the images below to get them to pop up larger.







My Final word on the Leica Q after my 3 Day Evaluation

The new Q is not cheap. Leica never ever is and while I was hoping for $3500 (I feel that would have been PERFECT and sold a ton of these for Leica), it appears the Q comes in at $4250, about $750 over my “hoped for” price. Yep, $4250. True Leica style ;) I loved my time with the Q. It felt nice (though not nearly as solid as an M), it looked nice and it shot like a dream. Quick (Though not Sony A6000 quick), and a joy to use and shoot. It inspired me, gave me excitement to want to go out and shoot and that is one way I judge a camera. If it makes me WANT to go shoot with it, then it is a winner in all ways to me.

The Leica Q does just that and if you have a spare $4250 and always have wanted a true Leica, the time is now as the Q has landed. You will get “better than M 240” quality with better color, more crispness and more pop. The lens is, after all, designed for  the sensor and camera body. It’s a perfect match. Now to see what Sony comes up with…RX2 on the way? Hmmm.

Keep in mind the original RX1 was $2795 without the EVF which set us back an additional $450. So the Q is priced about $1000.00 over the RX1 and EVF at launch, beats the RX1 in mist ways, and is a true German made Leica. When you look at it like that, the price is fair for being Leica. To those who will moan about the cost, you must not know how Leica operates, it is normal and yes I feel this Q will indeed be the one  that breaks Leica’s slow streak.

At least I hope so, it is a lovely camera worthy of the Leica badge.

For now, I will say the Q is the best mirrorless fixed lens camera made today if IQ, beauty and simplicity are at the top of your list.

The only way this would have been better is if they made it in a body only version for $3500. Then we could have added our M lenses to the Q for more options. Then again, why would Leica kill M sales by releasing a Q version at half price? They wouldn’t , and there ya have it.

Below are pre-order options for the new Leica Q, all from dealers I highly recommend and use myself…

B&H Photo Pre-Order the Q

Ken Hansen – E-mail him [email protected]

Leica Store Miami

BEST THING about Pre-Orders? You are not charged until it ships, it is cancelable at any time, and you are 1st to get it ;)

A few more snaps I shot with the Q before I had to send it back…click them for better versions! 










Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple, and no, I am not asking you for a penny!

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website, in money and time. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

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Jun 032015


When Leica announced the M60

By Kristian Dowling –

My Leica M quest started some 22 years ago with the Leica M6 (classic). I haven’t shot film for over 12 years, and in this time I have developed an insecurity that has been derived from digital technology, allowing me to view images immediately after pressing the shutter button. This insecurity has led to many missed opportunities, missed moments, and ultimately – missed shots, and this results in a form of failure. Sure, I’ve learned to accept this failure by knowing that the security of ‘being sure’ I have the shot saved on a plastic card is reassuring enough to understand it’s all worth it…..but what if the LCD was taken away?


When Leica announced the M60 (LEICA M EDITION “LEICA 60”), the news was met with a lot of mixed emotions. Its claim to fame is that it is the only Leica M camera ever made in complete Stainless Steel. Described by Leica as ‘The essence of photography’, and ‘an homage to the art of photography’, you wouldn’t really understand unless you shot with a Leica film rangefinder camera…..or with the M60. Why? Because they decided to remove what’s most valuable feature to the modern photographer. The one thing we all rely on, and the one thing that makes us insecure when shooting – the LCD. Now I know what you’re all thinking. “I’m not insecure because I use the LCD. I don’t NEED the LCD. Why would they remove it, when it’s the one feature that completes a digital camera and truly makes it useful?” – let me answer that shortly.


There were 600 Leica M60 packages produced, and they’re almost completely sold out now, yet I haven’t seen many photographers out shooting with them. This is a shame because while it is a highly collectible camera, it’s also designed to be a ‘shooters’ camera, and in my opinion, begs to be used! I first came into contact with the unique camera in Singapore recently, where my good friend Alwyn Loh showed me his new baby. When placed into my hands I could not believe the feel of it. Super solid, sharp lines, more heft than any M, and looks to die for. The finish on the camera is impeccable and really shows that Leica has maintained their standard of first class finishing into the 20th century.




A week later in Bangkok, one of my friends, Lawrence Becker pulls out what looks like an M60, only he tells me it’s ‘not quite an M60’. Upon further investigation I see that it’s actually an M60 prototype, 9 of only 11 made, with matching lens and body. The beauty of purchasing Leica packages like this is that you can be assured that the body and lens are calibrated perfectly to each other, ensuring ultimate calibration, and perfect image quality. After doing some research I haven’t been able to find any information that points out the differences between the prototype and the M60, so felt there’s only one thing left to do – shoot!




The design of the M60 is minimalistic and clean. There is nothing on there that is not essential to basic picture taking. The shutter release has no option for soft release, and there are no lugs, so there is no way to attach a strap, unless you use the included leather case/strap combo, or buy an aftermarket strap that attaches to the tripod socket on the bottom plate. As there is no LCD (replaced by ISO selector), there are no menu options. There is no way to select white balance (AWB only), but there is a button allowing you to see how many frames you have left, as well as battery percentage in the viewfinder – very smart, and needed. All files are recorded in RAW only.

In the hands, the camera feels like no other digital camera I’ve handled before. It is the same thickness and shape as the current M240, yet has a higher weight, and the edges are much sharper. The covering is grippy and really well done, with little grove cut-outs I’ve not seen on an M camera before. The finish is smooth to touch, and doesn’t show finger prints, unless you have a lot of oil on your hands. Put simply, it’s the best-finished digital M to date, possibly alongside the M9Ti.





Walking around carrying this exquisite piece of Stainless Steel in your hands comes with an initial fear of dropping it, and exposing the steel underneath the finishing. After a while, the fear turned into confidence once I got my feet wet and snapped a few frames. After using standard M’s all my life there is something special about carrying around such a unique piece of machinery. Sure, it’s essentially an M240, but the heft, finish and rarity instil a feeling of excitement too.
The M60 is designed to feel and function like a film camera, with the versatility of being about to record images in digital. Where the LCD is usually positioned, on the back cover, you now find the old ISO selection wheel, completing the film-camera look and feel.

When shooting, the first thing I noticed was the shutter. I assume it’s the same in all-digital M240 variants, but what changes is the sound. Due to the acoustics of the stainless steel frame, the shutter sounds sharper, faster and quieter. The next thing you notice is that what made you insecure when shooting is no longer present, and now you’re in withdrawal. It’s an empty feeling knowing that you cannot view the picture you just took, especially when you know you’re using a digital camera. At that moment, I’d never felt more insecure shooting, ever.

Upon shooting my next few frames, Déjà vu struck! I began to reminisce about the good old days where I would shoot without thinking about the camera, or the photos. Photography was ‘all about shooting’, and not reviewing, and now I could be free of my insecurity and be 100% in the moment. I can’t explain how refreshing this feeling was. Needless to say, I was happy, and felt my love for photography starting to re-evolve. I know it sounds corny, but wow, what a feeling of relief.



The next question I asked myself was ‘what do I do about exposure?’ In the past I used a handheld meter and rarely relied on the built in meter. Sure it is good as a guide but it’s certainly not 100% trustworthy because it meters off reflected light, and not the actual ambient light falling onto my subject/scene. Since moving to digital, I’ve never used a light meter in a camera. My 22 years shooting in manual with a hand held meter allowed me to record a mental database of exposures I recall and input into my camera……but, I usually use my LCD to confirm I am correct, or at least close, then adjust accordingly.

Seeing there is no option here, I would have to rely on my mental database, and use the built-in meter as a guide if I was unsure, as I had no access to a handheld meter at the time. Once I became comfortable with this, I was free to shoot without concern. I only had about an hour with the camera, but in this time I could see why Leica took a chance and created the M60. From the very beginning, Leica cameras have always been about keeping things simple, and putting total control into the hands of the user, without gimmicky functions getting in the way or becoming a distraction. The less the user has to think about the camera, the more they can focus on the moment and capturing it with total focus and concentration.



I even noticed that interacting with subjects is easier because they can see that I’m not looking at my camera to review images, and this has a huge effect on my ability to get what I need from a situation. While there are a lot of benefits from sharing the images with subjects during a shoot, there are a lot more benefits of not sharing, especially in street and documentary scenarios.

The M60 (prototype) is ALL about the experience of shooting – taking photographs in the exact same way as you would with film, yet with the advantage of being able to view, edit and distribute the images immediately with convenience of digital technology. The results were pin sharp, as sharp as I’ve ever seen from a 35/1.4 ASPH on any Leica M, somewhat like the pin-sharp results from an M-Monochrom. Again, this shows how important it is to have a lens and body perfectly calibrated to obtain the best possible image quality.



From my limited experience, I believe the M60 concept is a winner. Not just for collectors, but for those who value top quality Leica products – along with the added benefits of shooting in such a pure way. The price of the kit has just dropped by 12%, and there are some good deals to be had. Worst case, in years to come, the lens alone will hold the value of the kit, considering there are no more stainless steel lenses/kits like this produced.

Blending the worlds of analogue and digital may sound like a stretch on paper, but in reality it really proved to be a rewarding experience, and one I would love Leica to pursue further. I’m not saying they should remove the LCD’s from all their cameras, but it would be nice to see them releasing a version of the M without an LCD to cater to those who value the true and traditional M shooting experience. I know for me, it’s a very good fit for those times I want to shoot and be completely in the moment and focused the way I’m supposed to be.

Kristian Downling

You can buy the M60 from Ken Hansen ([email protected]) or Leica Store Miami.

May 222015

The Zeiss 35 1.4 Distagon ZM Leica Mount Lens, my 1st look. Wow.


Just tried out the new Zeiss 35 1.4 ZM lens and wow, the reviews and user reports are true, this is up there with the Leica 35 FLE though different in the way it renders and image. Some will like it better, some will not, but either way it is FANTASTIC. I’d say we can get most of the FLE out of this Zeiss, but with a whole different character and feel. It may not be as sharp as the Leica 35 FLE at 1.4, but it is close, and it offers a more “organic” rendering that I simply love. Smooth Zeiss pop on my Leica Monochrom 246 or amazing bold color and snap on the A7s or A7II. It’s a lovely lens, and I enjoyed the lens I rented so much I really want to own this lens for my new MM. From the few shots I have snapped so far I feel it makes a perfect match, and as a bonus it will work well on the Leica M 240 and the Sony A7 series as well. Yes, I rented the lens but will own it as soon as I can.

I will have a full review eventually here, maybe in a few weeks  – using it on the new MM and the Sony A7 bodies. But for now, Amazon has 2 in stock, via prime, in black. $2190 which is $100 less than normal. For less than half the cost of the Leica 35 FLE you can have a lens that is in reality just as good, but with a different character (which I prefer). The build is solid, the aperture click is AMAZING, best I have felt on any lens and the glass is beautiful. IT IS NOT large, but it is larger than the Leica 35 Lux by a bit. Reminds me size wise of a 50 Summlux ASPH.

The rendering is just what I like, and all Zeiss. I will own this lens as soon as I can afford it!

You can order this lens at Amazon (via PRIME) HERE. You can also buy it at, or B&H Photo. 

A couple of samples on the Leica Mono 246:








And a few with the lens on the Sony A7II:






May 112015


The New Leica 90 Summarit f/2.4 Lens Quick Review on the M 240

By Steve Huff

I recently posted my very positive experience with the new set of Summarit lenses from Leica. Mainly, the 35, 50 and 75. I have now finally had a chance to shoot some frames with the 90 f.2.4 and as before with the old Summarit, I love it. It continues along the same lines as the previous version but adds a closer minimum focus, an f/2.4 aperture vs 2.5 and now comes with a full Leica leather case and metal hood at no extra charge. The rendering of the lens is very nice, and leaves you wondering if you really do need that larger, heavier, more expensive Summicron!

This is not so much a full “review”, but it is sort of an “addition” to THIS 90 Summarit review (which sums up this lens just as well) and THIS recent post. Read those 1st, then come back here to read this short but sweet article.

The video I did a few weeks ago showing the Summarit lenses and the new Leica M-P Safari set. 

Thanks Ken!

Also, before I get started let me thank Leica Legendary Dealer Ken Hansen for sending me these lenses for review. I could not even get them from Leica, so Ken sent them my way to borrow so I can test them to see what I thought. I just packed up all of them for their way back to Ken. SO THANK YOU KEN! If you need ANYTHING Leica, be sure to EMAIL him at [email protected] and ask him for it, he deals in NEW and USED and has it all in stock. All of it.


The New Summarit. Is it so different from the previous line?

This little and very light 90mm F/2.4 Summarit is a beautiful lens, and I admit, I am not a 90mm or telephoto guy. If I owned a 90 for my Leica it would probably be used twice a year. I prefer to shoot 21, 35 and 50 as I like to get up close and converse with my subjects. Even so, the 90 is fantastic when you want to shoot a portrait as you get NO distortion, and nice separation of your subject from the background..or as some like to call it “3D Pop”.

But what about the last 90 Summarit f/2.5? Is this lens better in image quality? No, not fact, it seems about the same to me as the last 90. The new f/2.4 vs f/2.5, well, let’s just say there is really no measurable difference in that speed. Many say the old Summarit was really f/2.4 but Leica marked them as 2.5 as to not cannibalize the Summicron sales.

Where this 90 F/2.4 excels over the old 90 F/2.5 is that it is a new design, comes standard with a Leica leather case and metal hood where the previous version came with a felt baggie and the hood was a separate purchase. It is nice to see Leica upgrade these things as even though the Summarit lines is the cheapest new production lenses in the Leica lineup, they are NOT cheap! The 90 here comes in at a hefty $2350. YES, IT IS STILL A LEICA ;)


I am not a 90 guy..but I did enjoy this lens. 

I know many who love and adore the 90mm Focal length though and some who call it their favorite focal length while others never touch it, especially with a Leica.


There are many shooters who love them some reach. Some do not feel comfortable getting in close to their subjects and a longer lens helps them do this without being noticed. Others use them as they would any other lens, as I do, pulling it out for that portrait or when it is needed. It will deliver the depth and pop of a good 90 though the Bokeh of this Summarit, well, I much prefer the Bokeh from the 90 Summicron. But hey, the 90 Cron is $3995, close to be double the cost of the Summarit, so you will pay for that 90 Cron creaminess if you indeed want or need it.

Even so, the 90 Summarit is fantastic.

Click images here for much better versions and to see them correctly



The 90mm focal length has long been considered the goto for portraits, and that is for many reasons. No distortion that most wider lenses will give you, nice subject pop and a good 90 will give you nice bokeh, nice detail and be just about perfect for head and shoulders type of shots or just headshots. Now the 90mm focal length is not only for portraits of course, but most of those who I know who uses a 90mm uses them for people. Others use them simply to get more reach. One thing is for sure though, Leica does not make a bad lens. Buy a summart, summicron or summilux and ALL of them will deliver what you want although they will all have a different character.

With Leica it is all about the “character” of the lens and how it renders and this is what makes them special, as there are not many lenses out there that refer quite like a good Leica lens.

As with all posts here on this website, clicking the images below will open up a much nicer and larger version, how they were meant to be seen. All images below with the Leica M-P 240 and 90 Summarit. 




The entire Summarit line, for me, renders in a way that is a mix of classic, modern and everything in between. It has the sharp crisp details that Leica is known for (modern) and also gives you a bit of that classic feel without being soft or too “vintage”. I’d say 80% modern, 20% classic. My time with the 90 was short as I rarely use a 90 but if I were a guy who loved this focal length, it would be a choice between this and the Summicron. I have owned and loved the cron, and have to say I do prefer the rendering of the APO Summicron but it is MUCH heavier, larger and expensive. This Summarit is just as good if not better than the previous summarit, and again, my review of THAT lens is HERE. It is also just as good as the old and very much loved 90 2.8 Elmarit, which is now discontinued.





Not much to say here but this 90 will give you some CA (purple fringing) as you can see below in Wyatt Earp’s hat. Even the $11,000 Noctilux has CA, as do the Summilux line. For me it doesn’t bother me but I do not shoot critical work where it needs to be printed at 60 inches wide for public display, so for me this is just part of the digital course. Many say CA is a sensor issue, others say it is the lens. But it is common in good fast lenses when shooting digital… Always has been and unless the camera itself corrects for this, it will be in your photos. It is also easily taken care of with your favorite photo editor.



The bottom line is that this version of the Summarit excels over the old version with a closer focusing distance of 0.9m, included metal hood and leather case and in use, the lens is buttery smooth to focus. I had no issues with the lens, focusing or anything.

This is a solid performer and while I did not use it a ton (again, I am not a 90 guy) I did see it’s potential. It would be very tough to choose the 90 Summicron APO over this at $4000 vs $2350. But that is all personal preference. I know what I like, and for me, I prefer the 90 Sunmicron rendering but I prefer the price of the Summarit.



These lenses are beautiful, gorgeous, and the performance is what yo would expect from a Leica lens. Just because they are considered the “starter” or “budget” line does not mean they are sub-par. The 50 is my favorite summarit followed by the 35 and then 75. The 90 is my least favorite simply because I am not a 90mm shooter. The lenses are ALL fantastic, and one could never go wrong with any of the Summarit lenses. You will save some cash, and have some of the most beautiful and compact lenses ever made.

5 STARS for all of these because for the price, for the name, you are getting great performance at a much better price than normal.


You can buy these lenses from Ken Hansen,, The Pro Shop, or B&H Photo. Even Amazon sells them via PRIME.



Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

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Apr 292015


A User Review of the Zeiss 35mm Distagon f1.4 ZM on a Leica M 240

By Howard Shooter

I must confess to being a bit of a Leica fan. I love Leica and the purity of the rangefinders’ back to basics approach to photography. Up until three days ago I have veered towards only Leica glass and my thoughts have been mostly positive. I was niggled and irritated by the slight softness of the 50mm Summilux on the M240mm compared to the M9 and the ever so slight lack of contrast, which means I sometimes have to give the files a bit of the proverbial kick in Lightroom. The shift from M9 to M240 was another learning curve in appreciating subtlety and nuance for me and took longer than I expected to really love the new signature of the much debated cmos sensor.


I always loved the 35mm focal length, as it’s such a versatile lens for so many situations from landscape to portrait. I wanted the Leica 35mm summilux but the price is too steep for me to justify the outlay.

Zeiss have always had their avid and similarly loyal followers and the Leica fit Zeiss lenses have generally reviewed well and been passionately spoken for.

I ordered the Zeiss 35mm Distagon f1.4 ZM a week before they came in and the initial online reviews were scarce and very favorable. At approximately one-third of the price of the Leica equivalent I was looking forward to testing out the lens and deciding if my long and loyal following to owning only Leica glass was now dwindling.

Physically the lens is a little heavy for my liking; bulky and substantial, not balanced perfectly with the body. This isn’t a deal breaker for me as the optics far outweighs the extra size but it is a consideration and a minor irritation. The focus ring is a little tighter than I’m used to but the aperture is wonderfully smooth in third stop increments. The lens blocks the viewfinder a little but not enough for me to care. For all of it’s differences it is a beautifully well made lens in the true tradition of Zeiss and feels and looks better than in the Zeiss promotional shots.

Incidentally I am not going to post shots of my camera with the lens as you can see other reviewers do this. I am not a “professional” reviewer so I’d rather share my hopefully interesting opinions and see if this helps you decide on whether this lens might be of interest to you.

I’m in my favorite photographic haunt again of Aldeburgh, Suffolk, a fishing town with a wonderful English appeal and atmosphere.

The following shots were all taken with the Leica M240 with the Zeiss 35mm lens at various apertures. All were processed minimally in Lightroom with a little post processing but the essence of the lens’s signature is preserved. After you’ve looked at the shots I’ll let you know my personal opinion.

Shot 2 Oyster Fisherman

Shot 3 Lobster cages

Shot 4 Boats Windows

Shot 5 Gone Fishing

Shot 6 Boat Silhouette

Shot 7 Fisherman Sorting Catch

Shot 8 Woman On Beach

Shot 9 Boats at Dawn

Shot 10 Man by house


I hope you like these shots because in some ways they really surprised me. Now this may seem strange but the lens seems to give more pop and contrast than most Leica lenses I have used on my M240. The signature almost reminds me of the look I used to get with my M9. In other words if you are missing the M9 pop from your M240 and are looking for a 35mm lens I think you can do no better then with the Zeiss.

Just to re-iterate, when used with the M240 this lens gives you the subtlety of the M240 cmos sensor with the pop of the M9… a perfect combination.

This leads me to wonder if the colour and contrast of this lens on an M9 might be a little too saturated and contrasty but I am merely speculating. I love this lens and think that it actually feels very old school Leica rather than modern day Zeiss. It isn’t overly clinical in my opinion but is very sharp, handles flare extremely well, is very adaptable with various subjects and in the right light gives plenty of pop but at a third of the price. The bokeh isn’t distracting but also isn’t class leading either as subjective as this always is. I think reds do come out a little too red and saturated on the M240 which means they need toning down a little but the black and white conversions are wonderfully filmic. The M240 has always been very good for black and white and I think with this lens you get a real sense of depth and dynamic range.

I can strongly recommend this lens. Have you got this lens and do you share my opinions….?

Shot 11 Staircase

Shot 12 Lobster cages2

Shot 13 Aldeburgh Town

As always many thanks for reading,

Warm wishes

Howard Shooter

(From Steve: POPFLASH has one Zeiss 35 1.4 in stock in black!)

Apr 152015

West Coast Monochrom

by Phillipp Wortmann

These are photographs taken along the California West Coast during a trip in march 2015. The route was roughly LA – San Clemente – Joshua Tree – Morro Bay – Big Sur – Santa Cruz – Point Reyes – San Francisco.
As I like to keep it simple I brought only my M6, 35 Summicron IV and a bunch of Kodak TriX film. It doesn’t matter if it’s cameras, lenses or film – if I bring more than one I can never decide what to use so limiting myself in that way actually gives me a lot more peace of mind.

For the past year or so I have been almost exclusively shooting 35mm color film but for this trip I wanted to give the black and white another go. This decision was actually made a couple of weeks prior to the trip when I went through my archive and rediscovered some of my older black and white film photos. You can check my little user report on that HERE.








Another reason for going with black and white was that I had already been to do southwestern US the year before where I shot all Kodak Portra 160. So to avoid ending up with very similar photos from two different trips using Kodak TriX 400 made sense. If you like you can see the color shots from last year here:

So overall the trip was a blast and although I didn’t shoot as much as I had hoped/planned/anticipated I’m really happy with some of the shots I got. I will probably need to find a darkroom to do some prints soon.

The entire album can be viewed here:

You can also see more of my photos here: and

Best regards and thanks for the opportunity to showcase my work!


Apr 132015


The NEW Leica Summarit Lenses. 35, 50, 75 and 90 2.4. Part 1.

These lenses were sent to me to review by Leica Dealer Ken Hansen. He has these and many other Leica items in stock, so email him if interested at [email protected].

**This review will be in two parts. This part will mainly focus on the 35 and 50 with a few 75 samples thrown in. I will show many images and talk about the character of the lenses. Part 2 will feature more 75 and 90 and go over my final thoughts on the Summarit line as well as some comparisons. So my conclusion, comparisons, and more images will be in part 2 in about 1-2 weeks. Enjoy!**

1st, a video showing the Summarits with my new Safari Leica M-P 240 

Man, these brand new 2015 Summarit lenses from Leica REALLY surprised me, and these days it takes A LOT to Surprise me. The fit, the finish, the build, the design, the smoothness, the hood’s, the caps, the whole package with these little Summarit line has gotten better than ever before with the new improvements. Optically they are STUNNERS and IMO beat many of the classic Leica lenses. For example, I prefer the new 2.4 Summarit 50 to the older 50 Summicron f/2 (non APO). The 35 Summarit is TINY but STUNNINGLY sharp. The 75 is probably the coolest of the lot with its 2.4 aperture, close focusing distance of .7 and the slim slender profile. I loved the old summarit line (which are not really that old) that Leica introduced at the end of the M8.2’s life as they released them to create a more affordable lens for what would be the M9. They did a great thing with that lens line as they were Semi Affordable in Leica terms and they were fantastic performers. 

The new line is even better with a new design, new metal hood designs, new metal lens caps, new silver or black finish, improved optics, new closer focusing distances, and each lens comes with a real Leica leather case (the old line came with a bag). So the prices have went up from $2000-$2350 but they are still the least expensive REAL Leica lenses made today for the M and they give up nothing in performance to their more expensive siblings.

The 35, 50, 75 ad 90..look at the stunning silver finish. I am not a HUGE fan of the black focusing rings on the silver body but I would still choose Silver for my Safari M-P. 


After shooting with the 35, 50, 75 and 90 I can say that I would love to own the 50 and 75 AND 90, but may end up buying the 50 for now, and one of the other telephoto options later. I own a 35 Summicron so do not need another 35 but man oh man. The details and color..some of these have that old M9 pop that many look for IMO – all from Leica’s latest and most affordable lens line for the M.

Click this image for a larger 1800 pixel size to see the details, and depth. This was with the 50 f/2.4 and it is STUNNING at any price. If Leica packaged this as an all new special 50 with a new name, they could have priced it at $3000. It is crisper than a Summilux, sharper and has better color than the old 50 Summicron, along with a smoother Bokeh and it is smaller and sleeker and looks amazingly beautiful on the camera. Click the image of the Cowboy to see the depth, detail and character of his face. Amazing lens. 


When you view the above image, you will see that Leica pop and look from the contrast, sharpness, color and the WOW. It is in a class of it’s own. The gentle transitions from focus to out of focus is organic, the color is scrumptious and the glow is here as well. Take a look and click on the image below. From raw, wide open at f/2.4 on the new 50 Summarit.


But let us keep going as I think I want to make this review more image based as the images are what tell the tale.

Click on the image below for a larger sized version. Here, you can see Leica’s color signature, the glow, the detail (see the eyes) and the smooth transition from sharp to butter. :) This 50 2.4 is a smashing lens. Many will feel they need a Summicron or Lux and they will miss out. Today, there is no need to spend more for better. Each Leica lens, the Summarit, Summicron and Summilux each have a different character, but ALL are stellar and better than any DSLR 50 ;) 


The 35 Summarit inside at ISO 2000. Still crisp, still “leica” in the feeling. Nothing special about the image but it does show that even in dark indoor interiors the 35 Summarit and M 240 can pull it off.


Always love old doors and this one was taken in Tombstone, AZ at an old abandoned building. The 35 now has a .8 meter close focus distance, is made to a higher standard, has improved optics and again, comes with metal hood, leather case and the full Leica treatment. This 35 goes for $2250, much less than the 35 Summicron or 35 Summilux. This lens feels amazing on the M. Small, solid, smooth focus. Not much more you could ask for. Click images for larger. 


Another with the 35, right out of the camera (RAW)…


The 50 has its own unique mojo and character that sets it apart from the Summicron and Summilux. I know of one guy who has ALL of the Leica 50;s and chooses which one he wants to shoot depending on what he is going for in looks. For me, the 50 Summarit provides a crisp and “perfect” style of image while not being analytical or hard in any way. Look at the image below. The man WAS this red as he had a slight sunburn and he was HOT wearing his MARSHALL uniform. The Leica did color here better than my A7II did the same day and place. So Leica has finally got the old color issues settled. Now I see Leica color I remember. 


Another with the 50, which became the most used Summarit for me while having them all. I shot with the 90 the least as I never use 90 but it is beautiful none the less. Look again at the detail the Summarit gives as well as the overall character of the rendering. 


A quick grab shot this guy was a blast. He hung around all day dancing and playing his finger instruments. Never hounding anyone for money, just smiling for all who passed by. I used the 50 here again. 


These two were on the street in the harsh AZ sun and I thought there is no way this image would come out OK. Usually these harsh sun images lead to faces in shadow, uneven exposure, etc. When I arrived home I was able to easily pull out the shadows on the faces while retaining highlights. 


RICH reds here with the 50


Again, the 50 shooting a happy young man on the Trolley Tour. LOVE the way the 50 renders crisp and so colorful..with ACCURATE color. I think Leica enhanced these for use on the M 240 as the color that comes from these lenses is superb. 


The 75 is a lens I have a love hate relationship with. Not because it is a bad lens, because it is SO GOOD and SO gorgeous, I want it. Problem is, I rarely use anything above 50. Even so, I will own this lens one day. I loved the old version of the 75 Summarit and this one is even better. Retains the Summarit look of crispness, great color, smooth transitions and this time with the new 75 we get .7 meter close focus, which is AWESOME. 


Horse with the 75 in the direct sun. Look at how it handles the harsh light. Contrast is a but high but that is what gives these lenses the pop and 3D separation. 


The local high school band from Nogales Mexico in Tombstone. They sounded great! The 75, even from across the street gave me detail, snap and pop. Color is spot on and the M handled the harsh light VERY well.


I saw this lady having a BLAST watching the parade..she had her bubble machine and was getting the biggest kick out of it. She was enjoying life with a smile. I snapped this one with the 50..


One more with the the dog ;) 


Just a simple shot to show the detail and the Bokeh of the 75mm at 2.4


…and a shot with a 100% crop from the 75 inside my home, no special light. Wide open at f/2.4. 


It is safe to say that I am enjoying these Summarit lenses. I will be shooting over the next few days with the 75 and 90 more so my next report, which will be part 2, will go over these lenses more as well as a couple of comparison like the 35 Summarit vs the 35 Summicron vs the Zeiss 35 Loxia on the A7II.

REFERENCE: My old 35 Summarit review is HERE. My old 50 Summarit review is HERE. My old 90 Summarit review is HERE.

So that is all I have for now on these fantastic new lenses from Leica. ALL are stunning in their build, performance, styling and included accessories (Hood, caps, leather case, etc). The Summarits are now better than ever and are in no way handicapped by the more expensive line besides being a tad slower at f/2.4 vs f/2 or f/1.4.

If you want to save some cash and some weight, you will still get that Leica quality from the entire line of Summarit lenses. Watch for part 2 SOON which will have more on these beauties. Again, these came from Ken Hansen, email him and mention me for a GREAT buying experience ;) His email is [email protected].







Apr 092015


Leica M-P Safari Set & Summarit Lenses Hands On Video Overview

My Safari set came from 

The Leica brand has always been known for crazy special edition versions of their M camera line. Some speculate they do them when they want to clear some stock of bodies (and paint them to match the special editions) and some just accept it as part of Leica’s way of doing business. Like it or not, Leica has a base of fans and buyers who LOVE the special edition sets. From the Titanium M7 and M9 to the Stainless Steel M 60 to the Safari sets that go back to even the R bodies.

My video look at the Safari and Summarit Lenses

I remember when Leica released the Safari M8.2 and I wanted it badly. At the time, it came with a silver 28 Elmarit and was under $10k if I remember correctly. I loved the Olive Drab color and thought it was a great looking camera while others thought it was tacky and ugly.


When Leica released the M9 there were no Safari sets but they did release many M9 and M9-P special editions such as the all WHITE edition and the Hammertoe LE set. Today Leica has the Lenny Kravitz Correspondent edition as well as the new M-P 240 Safari and of course the M 60. Out of these sets, the best value is with the Safari because it actually comes in CHEAPER then if you were to buy the pieces in the set separate in a normal standard production run color.



The M-P 240 is a Leica M-P 240 ($8000) with a Leica 35 Summicron f/2 Lens in Silver with an old school Lens hood and metal lens cap included. This lens in standard black will set you back $3200, so already with the M-P and 35 Cron we are looking at $11, 200. Add in the strap and accessories and you can easily add another $300. So say $11, 500. THAT is if you went out and bought a standard black or silver set yet this special limited run of Safari sets will set you back $9800, or in some cases a little less. So yes, it is odd that Leica did this as usually their special editions cost you MORE, by anywhere from $1000 to $10,000. So if you can deal with the Army green color you will save a couple thousand dollars, and have a limited edition to boot!


The set is complete with an amazing display box, typical of Leica Special Edition cameras. Open the top box and you will see the camera in Olive green with silver knobs and dials. You will see a 35 Summicron with old school metal lens hood and metal cap. An exclusive Leica leather strap and wallet is also included. I acquired this set in a trade deal from POPFLASH.COM. They had six of these in stock when I acquired this one, not sure how many they have now but I do know the Safari set has sold pretty well considering Leica sales have been slowing lately (just due to not having anything new and WOW….yet).




I like the fact that Leica did the Safari in the M-P style and not the standard M 240 style. So we get the Leica log engraved up top and the special Sapphire LCD as well. So if you have the itch for a new Leica M, and want to save a couple grand over a black or silver and do not mind the Olive Green, this set is actually the rare deal from Leica where you will spend less and get more. I think this may be a first ever. ;)


This set came from and they are a fantastic Leica dealer, highly recommended. Their Safari set page is HERE. You can also pick this up from Ken Hansen (email: [email protected]), Pro ShopLeica Store Miami and B&H Photo. 

Also, all four of the new Summarit lenses have come in for review, so you will see them here soon (they are also shown in the video above, beautiful set of lenses)





Apr 062015

Picture 1

A Change Of Perspective – The Voigtlander 15mm f/4.5 III

By Alan Schaller – My Flickr link

Buy the 15 lens HERE at CameraQuest or HERE at B&H Photo

Hello everyone. First off, a big thank you to Steve for giving me the opportunity to write again on his great site.

I heard very good things about the first and second versions of the Voigtlander 15mm f/4.5, namely their low price, compact size and classy rendering. They were however known to colour shift on the M9, M240 and the A7 series, meaning many digital users used the lens as a black and white tool. From what I can tell from my pictures colour shifting has been completely sorted in this third version of the lens, which of course is a great thing. Also worth mentioning is the incredible lack of distortion.

I happened to have a holiday booked to the South of France a few days after I received my lens, and thought it would be the perfect place to let this super wide-angle flex its muscles! The region I went to (The Côte d’Azur) features crazily photogenic villages, street scenes, the sea and mountainous areas, so I had a lot fun shooting in a variety of environments with the 15mm on my Sony A7s and Leica Monochrom. The shots in this review were all taken on that trip.

Sony A7s ISO 2500 – f/4.5 – 1/40 sec

Picture 2

I had not extensively used a lens wider than a 35mm before getting this 15mm prime. My main reason for buying a super wide angle lens was to shake up my shooting style. I can confirm that it has, and recommend trying one if you haven’t already! I enjoy the 50mm focal length most of all, and being so used to looking for photo opportunities through the ‘eye’ of a 50, what I was seeing through the 15mm viewfinder initially seemed almost comical. The first day I had the lens, I walked around London with it on the Monochrom, initially marvelling like a child at how I could get whole buildings in frame whilst standing a few meters away from them.

I eventually calmed down and started thinking about how I could get the most out of my new lens. It seemed immediately obvious that it would be useful for shooting landscapes or epic sky scenes, but being primarily a street photographer, I wanted to try and use it on the streets too. Initial test shots proved this to be tricky! A lot of the time you have to get extremely close to the subject to make an interesting shot. The silent shutter on the A7s made me feel more confident to do so. It’s something I am going to enjoy experimenting with.

The thing I have found most interesting and creatively rewarding about using this super wide angle lens is the way it presents an image with such an unfamiliar perspective to the human eye. A 50mm lens is great as it is so familiar to our field of view, but I am really interested by the way this lens is so unfamiliar. Certain scenes that would be very mundane with a standard focal length can become surprisingly interesting when you use a super wide angle. This one was taken on the plane going to France:

Leica Monochrom – ISO 320 – f/4.5 – 1/30 sec

Picture 3

The Monochrom gets on very nicely with this lens! Images are detailed and have great contrast. If you stop down to f/8 the depth of field is impressive. Also, as the DOF is so deep on a lens this wide, at f8 the lens is focusing from its closest point of 0.5 meters all the way to infinity, so there is zero need to adjust focus! This is a welcome attribute as it takes more consideration to get a shot perfect with a 15mm due to the extra surrounding context inevitably being in frame, and not having to worry about nailing focus helps speed up the whole process.

I have found sharpening to be totally unnecessary when using this lens on the Mono. This lens and camera combo feels great to use, and is perfect in terms of size and weight. They feel seriously solid together in the hand, and look great too! Same goes when it is used on the A7s. It feels well-balanced.

I expected the lens to work fantastically on the Monochrom (as the previous version did too), but I have been super impressed with the results on my Sony A7s. The colour is to die for!

Sony A7s – ISO 100 – f/8 – 1/200 sec

Picture 4

Sony A7s – ISO 100 – f/8 – 1/250 sec

Picture 5

As many people know the A7s is a low light monster, which meant I could shoot at any time of night despite the fact that this is a pretty slow lens. Simply crank the ISO to 8 or 10 thousand and snap away handheld, knowing the images will retain great detail and colour. Simple! As I mentioned before, the edges retain their colour well, even under pixel peeping scrutiny, so hats off to Voigtlander for taking the time and putting in the R&D to revise this lens so well for digital sensors. Chromatic aberration seems very well controlled, but can still be spotted if you pixel peep. I am sure Voigtlander will sell many of these, as the price, although an increase from the previous generations of the f/4.5 15, is still way way below the outlay for similar offerings from Leica or Zeiss. Despite being relatively cheap, the lens is built excellently, has a metal hood and body, and takes sensible 58mm filters. Most importantly, from what I can tell, the image quality is right up there with those more pricey offerings from Leica and Zeiss.

Leica Monchrom – ISO 320 – f/5.7 – 1/125 sec

Picture 6

I can already tell that this lens is a keeper, which means more of my shots taken with this lens will be going up on my Flickr page for the foreseeable future! So if you are interested in seeing more shots, feel free to have a look!

Mar 242015



by Paul Bartholomew

Dear Steve

This is my second user report I’ve written for your great site but this one is quite different from my last one (An Englishman in New York).

I’ve been a Canon user for years having had a 5DMK II, a 7DMK I and the camera I shot for part of this review the excellent Canon 5D MKIII. I have a little Olympus E-PL 1 and a Canon G11 too but my pride and joy is my Leica M240. That camera is the second M I have owned having upgraded from an M9 about 18 months ago. And what an upgrade! I really can’t understand those who prefer the M9, the colours, the noise, the dynamic range – all much better on the M240 to my mind, with live view to boot with EVF support (this is important for this article).

I’m not exaggerating when I say the Leica M240 is the camera I had hoped the M9 would have been, but whenever I shot with the M9 I found the images a little muddy in their tones – like the files were missing some information – not so with the M240.

After bumping along happily with both the 5D MKIII and the Leica M240, I realised the Canon was mostly staying in its foam-lined drawer in my study, I preferred to shoot with the M240. This wasn’t something that had happened with the M9 – the 5D MKIII gave me better images, but not so when compared to the M240. So, I began to wonder whether I actually needed the 5D MKIII… Of course letting go of the body was one thing but letting go of the lenses was quite another. At this point in time I owned a 300mm f/2.8L (easy to get rid of, I seldom shoot long), a 24-105 f/4L – a nice enough lens but not one that I actually used that much, a 16-35mm f/2.8L II – a lens I was nervous to lose (the widest I had for the Leica was 28mm) and a 85mm f/1.2L II – a gem of a lens that I loved. These two lenses were the anchor of my Canon system – they were preventing me from moving on.

However, when I sat down and worked out how much I would get by selling the Canon kit new possibilities opened up, but first I needed to see whether I could fill the niches of my Canon anchor lenses with a couple of Leica compatible lenses. Here’s what I bought: For the wide end a Voigtlander 21mm f/1.9 and for the fast portrait niche a Leica 80mm f/1.4 Summilux R (with a Novoflex R to M adaptor) – my EVF for my little Olympus would be put to good use! These two lenses complemented my existing M lenses – a Zeiss 28mm f/2.8, a Jupiter 35mm f/2.8, a Zeiss 50mm f/1.5 (calibrated to f/1.5) and a Jupiter 85mm f/2. To be honest, I never really used the Zeiss 50mm f/1.5 that much – too long for street work and for portraits I found it to have too much contrast for my taste.

Once I’d secured the lenses I thought I would do a comparison shoot before I made a decision whether I could/should divest myself of the Canon kit (although by this point the 300mm had already gone). So, I booked a model that I’d worked with on previous occasions and set to work. Some notes first though… I’d never done a lens test before so apologies for any errors in the process I may have made, also – the M240 doesn’t record lens data from my non-coded lenses and estimates the aperture based on the exposure settings. In some of the pictures my model Holly is holding up fingers to help me record the aperture I was shooting at.

Long end first – the Canon 16-35 f/2.8L II @ f/2.8 at 21mm (TOP) vs the Voigtlander 21mm @ f/2.8 (Bottom) – click images for larger!



Of course with all of the camera and lens changes, I forgot to let Holly know that the Canon would collect its own data! Indeed the EXIF data let me know that I was actually at 22mm, not 21mm.

I don’t think there is that much in it in terms of sharpness but the Canon lens shows less divergence of vertical. Nonetheless I prefer the tones from the Leica. I also think more shadow detail is captured, look at the purple sofa and Holly’s dress in the Leica/Voigt. combination. Unsurprisingly, both lenses show some chromatic aberration in the window frame.

At f/5.6 both lenses now have the chromatic aberration broadly under control:

Top is Canon, bottom is Voigtlander. Click images for larger!



Differences in colour balance / colour rendering aside, the Leica/Voigt. combination seems to hold much more detail now and is much sharper at the edges of the frame, look at the green Tibetan chair-bed bottom left.

Peripheral sharpness picks up on the Canon at f/8 (TOP) but it is still outperformed by the Voigtlander (BOTTOM):



This was enough to convince me that despite the 16mm to 21mm wide end variance, the Leica and Voigtlander would look after me. And…. The Voigtlander could shoot at f/1.9:


I then went a little longer and compared the mid-range of the Canon with my Zeiss 28mm f/2.8. First, wide open. TOP is CANON, bottom is ZEISS, both at f/2.8:



Here, it’s a mixed picture, more chromatic aberration in the window frame with the Canon but it is giving better shadow detail (look at the front of the cabinet) and it is sharper in the peripheries of the frame. The Zeiss is sharper in the middle and could be said to have greater contrast (the flip side of the lower shadow detail). I prefer the colours with the Leica/Zeiss combo though.

At f/5.6, the Canon looks really good, the chromatic aberration is under control , central sharpness is higher too. Slight exposure differences aside, the Canon is still showing less contrast than the Zeiss – which is now showing sharpness to rival the Canon right across the frame.

At f/8, it’s really only the higher contrast of the Zeiss that is separating them:



So, after all that I felt I was OK at medium wide – especially give the relative sizes of the two setups!

Just for fun, I thought I’d compare the long end of the Canon 16-35mm with my diminutive vintage Soviet – the Jupiter 35mm f/2.8 – I was not expecting comparable images and the differences were clear at f/2.8. Canon on top, Jupiter and M on the bottom:



The Canon, even wide open at the long end of its zoom range, seems to control chromatic aberration well and is offering significantly more contrast than when zoomed out. It’s pretty sharp right across the frame too. The Jupiter is another story altogether, unable to control the bright window light, the veiling flare lowers the contrast significantly and although centre sharpness is at least as high as with the Canon, it drops off drastically as we move away from the centre. Look at the candle on the left and even Holly’s feet on the right. I do like that vintage look though, it’s why I bought the lens.



As shown above, at f/5.6 there’s little to complain about with the Canon and it is significantly sharper than the Jupiter everywhere, including in the centre of the frame. And although contrast and sharpness is better with the Jupiter than it was at f/2.8 it can’t keep up with the Canon. This is the same for f/8 too, as shown below. Canon is the 1st image, the Jupiter is the 2nd.



Of course, the Jupiter was never going to be the equivalent of the Canon, but it is a fun little lens to have nonetheless. However, I may need to get myself a higher fidelity M lens if I want to shoot with precision at that focal length.

Now for what I think is probably the main event of this head-to-head review – a comparison of portrait lenses. Mainly, it’s about comparing the Canon 85mm f/1.2 L II with the Leica 80mm f/1.4 Summilux R. But, I’m going to throw in the Soviet 85mm f/2 for good measure too.

First of all, at the widest common aperture of f/2, they really are quite different. The Canon is sharp and exhibits high contrast – it is crisp, as one might expect. But when you cast your eye from that image to the clearly softer and lower contrast Leica image, the Canon begins to look a little ‘crunchy’ – I wonder if others would agree? Then comes the Jupiter, like its 35mm cousin it is low in contrast, but nonetheless it does appear to be pretty sharp:

TOP: Canon 85 L at f/2, MIDDLE: Leica R 80mm at f/2, BOTTOM: Jupiter 85 at f/2




At f/2.8 things aren’t particularly changed – same differences, perhaps just a little less extreme:

Canon, then Leica, then Jupiter




Of course, one really buys these lenses to shoot wide open – we’ve seen the Jupiter wide open but what about the other two? Firstly, both at f/1.4:




I don’t believe the Canon is any sharper now – look at Holly’s eyes on both. The Canon still has more contrast, but I am struck by the sophistication of the Leica image – sharp and soft and the same time. Also, look at the decoration on the wall and the edge of the sunlight, the Canon is exhibiting some chromatic aberration. OK, let’s see the Canon at f/1.2 – that aperture is the reason for buying this lens after all:


To me, on the eyes – this looks a bit sharper that the f/1.4 shot. I was shooting from a tripod but perhaps this is just the difference between hitting the eyeball with the focus point rather than the eyelashes. I just don’t know – although Holly’s mouth is sharper too.

All this out of camera comparison is a bit artificial though isn’t it? I’m never going to shoot models (or any portraits for that matter) without editing – I pretty much edit everything. So, given that – if I had to work on the three wide open images from each lens (I pretty much always shoot portraits wide open), what do I get? I’ve deliberately over-edited a little – particularly the eyes (using a detail extractor) because I wanted to see what information was there to be had and to share it with you. They are all edited slightly differently but with the aim of them bringing the best out of the lenses while getting them to a fairly similar end point:

1st CANON, 2nd LEICA, 3rd JUPITER – all wide open




I found the results surprising. The ‘crunchiness’ of the Canon (something I’d have never attributed to it prior to putting it against the Leica) was difficult to overcome. Transitions between light and shade seemed to accentuate really easily in the edit and I found the highlights difficult to control too (perhaps related to the sensor rather than the lens). The Leica on the other hand is, I think, quite beautiful – I’ve been able to reveal the sharpness of the lens (look at the eyes) but the softness and smoothness puts the Canon to shame – at least in my view. Then there’s the Jupiter – a dark horse: with a careful edit, it performs really well. Given that it cost me less than 5% of either the Canon (new) or Leica (used) that’s remarkable. I should say I used the EVF for both the Jupiter and the Leica. The Leica isn’t coupled so that was a must, but my Jupiter was designed for another camera and can be a bit focus shifted on an M.

For me the quality of the Leica has surprised me and shows that sharpness on its own can leave you wanting. This test allowed me to be happy to let the Canon 85mm f/1.2 L II go, and with it the 5D III and the other lenses too. That’s allowed me to buy a Sony A7 II, a Sony Zeiss 55mm f/1.8, a Voigtlander close focus M to E adaptor and a Canon 50mm f/0.95 rangefinder coupled lens, which I will get back in a few days when its conversion to M mount is done. I’ve also bought a dinky Nippon Kogaku (Nikkor) 5cm f/1.4 SC for a bit of fun after having let my Zeiss 50mm f/1.5 Sonnar go too. I’m finding I’m preferring a more classic low contrast look nowadays. So with those bits of kit and some LTM to M adapter rings, I can use all but the Zeiss FE 55mm f/1.8 on both cameras and I’ve kept some autofocus capability for shooting moving targets too. Additionally, I think the A7 II with its in-body stabilisation might be useful for some low light work when the need calls.

Altogether I feel I have gained flexibility from making the change.

A final word on the Leica 80mm f/1.4 though… It might not stay. I love how it looks, I’ve included a couple of real (non-test) shots below, but as an R lens it is a bit of a pain to use. Shooting it wide open requires precise focus and it doesn’t exhibit enough contrast for focus peaking to be effective so focusing through the EVF (it can’t be done any other way) needs to be done in zoom. Since there is no coupling, this requires the button on the front of the camera to be pressed, the eyes located, precise focus found (without peaking), the button pressed again to de-zoom, and the frame recomposed. By which time your subject is frustrated. As am I.

So there you have it, a long and rambling lens comparison posting that started out as an exercise for me to inform myself. I hope sharing it will be of interest to others too. I’m not sure how many comparisons between those particular portrait lenses are out there – I haven’t come across any.

At the moment then, I’m really looking forward to getting the 0.95 Canon back, something I wouldn’t have been able to justify buying without selling on the Canon SLR kit and I do feel broadly happy with the lenses I have. I may yet get a stronger 35mm and I may yet swap out the Leica R too.

So, thanks for reading and I’ll leave you with a couple of shots that I made with the 80mm f/1.4 Summilux R. After all, I may not be keeping it for long…



I hope this reads alright Steve. I’ll send the images on in following emails – it might take two or three.

I hope you will be able to let me know whether you think it is suitable – I hope it is!




From Steve: As always, for your Leica needs I recommend Ken Hanson, and

Mar 182015

New black chrome Leica 35 Summicron and 1959 50 Summilux ASPH!

Two legendary lenses, the Leica 35 Summicron f/2 ASPH and the Leica 50 Summilux 50 1.4 ASPH are getting a facelift from Leica in the form of all new black chrome versions. The 50 Lux ASPH is GORGEOUS in the new finish as they designed it much like the older classic 50 Lux lenses, in fact, from the 1959 Leica 50 Summilux! I WANT IT just for the beauty of it, and of course being a LEGENDARY lens.

The black chrome 50 Summilux ASPH 1.4


While these are the same tried and true lenses from Leica, we do get the striking black chrome finish with red accents. I feel the above 50 Lux is so much more beautiful than the standard version.

Here is what Leica says about the new lenses:

“Leica Camera now offers the Leica Summicron-M 35 mm f/2 ASPH. and Leica Summilux-M 50 mm f/1.4 ASPH. lenses in an alternative black chrome version. The matte black surfaces lend both reportage lenses a unique look and the extra benefits of a particularly robust and resilient finish.

Up to now available only in black anodised and silver chrome versions, the new black chrome lenses also offer new design features. For example, the Summilux-M 50 mm f/1.4 ASPH. revisits the classic design of its predecessor from 1959. Typical features of this are the scalloped focusing ring with knurled segments and the finely knurled aperture ring. In addition, the focusing scale in feet is picked out in red on the black chrome lenses. The new version also includes a round lens hood and a lens cap – both made from metal.

The Summilux-M 50 mm f/1.4 ASPH. is the standard lens for the rendition of subjects in their natural proportions. Its high speed makes it ideal for available-light photography, the use of selective sharpness and art photography and also makes it a first choice when building a basic stock of Leica M-System equipment.


The Leica Summicron-M 35 mm f/2 ASPH. is distinguished by its excellent sharpness, high contrast and exemplary resolution at all aperture and distance settings. Despite its high speed and exceptional imaging performance, it remains an astoundingly compact lens. Equipped with this 35 mm lens, every Leica M-Camera immediately becomes an extremely compact, versatile and elegant photographic tool.


In terms of its technical specifications, the lenses are identical to the serial production versions. The lenses will be available through authorized dealers at the end of April 2015.


KEN HANSENEmail him at [email protected]



THE PRO SHOP for photographers! 

Mar 132015

The Sony A7s with the Zeiss Loxia 50mm Planar and the Leica 50mm Summicron V5.

By Alan Schaller

Flickr link:

Picture 0

I am sure everybody reading this will be aware that Zeiss and Leica prime lenses are fantastic. This article is not going to be focused around laboratory grade comparisons of which one delivers the sharpest corners wide open, or the most pleasing bokeh or the nicest rendering. I shall go into my findings regarding these things a little bit later on, but surely it is safe to say that at this level of lens construction everything is more than good enough to help capture great images!

The Sony A7s has replaced my beloved Leica M9, which I sold after trying out the Sony in a camera shop in London. The M9 can deliver outrageously nice images in the right conditions, but I feel my reasons for wanting to keep it after trying the A7s were emotional rather than practical. The A7s has delivered stunning image quality in pretty much every environment in which I’ve used it, and as a bonus is compatible with my Leica lenses (50mm Summicron and 35mm Summicron ASPH). I am keeping my Leica Monochrom however, which to me still has unique qualities, but having said that the A7s does make some worryingly impressive B&W conversions, this one using Silver FX:

Sony A7s -Zeiss Loxia 50mm – ISO 2000 – f2.2 – 1/100 sec.

Picture 1

I have never used a camera that gets out of your way and lets you be creative like this one. Yes the Leicas are purer in operation, which I love, but with the A7s you don’t have to worry about noise at high ISOs (within reason, I have found up to 64000 to be really useable), and consequently you don’t have to worry about setting high shutter speeds or not being able to stop down your lenses in lower light, which is so liberating!! Also, it can be set to be completely silent.

I am one of those people who prefers using a great feeling manual focus lens over anything else. I prefer the experience to using autofocus to the point where I shot a wedding last month entirely using manual focus because I feel I deliver better results that way. I consider myself first and foremost a street photographer, and when in a street environment, being able to pre focus and having a small discreet manual lens suits my needs well, and outweighs the potential benefits of having a machine gun autofocus beast of a lens!

The Loxia series of lenses have been designed specifically for the A7 range, and have been optimised for digital sensors. These two bits of information got me sufficiently interested to check them out. When I first twisted this updated 50mm Planar onto the A7s, I was struck by the high quality feel of the focus ring, which has a considerably longer throw than my 50mm Summicron. I must admit I have never thought to myself “I wish my Summicron was capable of more precise focusing”, so initially I thought it was a bit unnecessary. After using it for a few days however, I got used to it, and it soon blended into the background, letting me get on with snapping.

It feels great mounted on the A7s and is at the same time reassuringly weighty but not overly bulky, reminding you every time you interact with it that it is a quality 50mm lens. Being well accustomed to the tiny retractable hood of my 50mm Summicron, the twist-on metal hood of the Loxia appeared quite large at first, but in reality, the A7s/Loxia combo is still very compact and discreet compared to Canikon offerings capable of comparable image quality.

The colours it produces are natural and at the same time characterful. The files show a touch less contrast than that of the Leica lens, and the colours are not as bold (or are more neutral depending on how you look at it!), but I find this great for editing purposes, where the relative honesty and neutrality of the Loxia means you can have great scope for saturating the colours and boosting contrast without the risk of them looking ugly.

The Sony A7s has inspired me to shoot in colour again. The main reason for this is simply that the colours out of this camera are amazing. They speak to me in a way the colours from my M9 did not, for some unquantifiable reason! Colours as you will see, come out quite differently on each of the two lenses:

 Sony A7s – Leica Summicron 50mm V5 – ISO 250 – f2.0 – 1/100 sec.

Picture 4

 Sony A7s – Leica Summicron 50mm – ISO 50 – f16 1 – 1/125

Picture 7

The Loxia to my eyes is a bit more ‘forgiving’ in terms of sharpness wide open than the Summicron, and appears a little softer at f2, which I think is a great thing for portraiture, where the Summicron can be brutally honest! By the time both are stopped down to f4, the sharpness and detail these lenses capture is incredible. I shoot wide, or close to wide open most of the time, so it is great to see the Loxia performing so nicely in this way. I can’t see a particularly modern character in the rendering of my Loxia images, unlike the ones I took on the blisteringly sharp Zeiss/Sony 55mm 1.8. Whilst being an outstanding performer it looks a bit clinical to my eyes compared to the Loxia and Leica glass I have experienced. This is in no way an attack on that lens, for many people it will be a perfect choice. I just like a smoother classic character voicing to my lenses.

Both lenses perform equally well, albeit differently, for B&W duties. The Loxia 50mm is more than capable of the famous ‘3D’ effect, which is more exaggerated than that of the Leica lens. The Loxia’s ability to focus 25cm closer to a subject than the Summicron is a welcome feature. Both lenses draw the OOF areas very nicely, and the Sony’s fantastic full frame sensor helps this along too.

Zeiss POP! Sony A7s – Zeiss Loxia 50mm – ISO 250 – f2.0 – 1/160 sec

Picture 8

 Sony A7s – Lecia Summicron 50mm – ISO 1250 – f2.0 – 1/200 sec

Picture 9

 Sony A7s – Leica Summicron 50mm – ISO 2000 – f2.0 – 1/100 sec

Picture 10

One thing the Loxia lens does on the A7s which the Leica cannot, is automatically magnifying the image onto your subject when you turn the focusing ring. I have found that I am getting close to rangefinder focusing speeds with this feature, after only a week of practice. This should improve over time. Unlike rangefinders however, you can be 100% guaranteed that you have focused accurately using the magnification function, and when looking through the EVF, you get a 100% accurate representation of your framing, unlike the quirky Leica rangefinder system! This is something I have come to appreciate. The Summicron has to be attached to the Sony A7s via an M to E mount adapter. I chose one by Novoflex, as it felt well made. As it is attached by the adapter it cannot transmit the aperture data to the camera body, and it cannot automatically trigger the magnifier. This is not an issue unless you want to use the focus magnifier obviously, and I am sure some people will not.

To summarise, I think the Zeiss Loxia 50mm is a perfect mate for the A7s. The images are just plain great. If you are more into your 35mm lenses, the Loxia 35mm Biogon is equally capable I am sure. If you already have a 50mm M mount lens that you use on a Sony camera, I think it is justifiable to have both, as they present images differently, and offer a different user experience. If you do decide to get one or have one already, you have chosen well and are in for a treat!

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved

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