Jan 182016
 

The start of my Photographic Journey. First year. Portraits.

By Roxanne Lai

(From Steve: I always love seeing posts from fresh, young, passionate individuals getting into photography. I feel Roxanne is on the right path and off to a great start and at only 15 years old, she has MANY years of photo adventures awaiting her. Awesome work Roxanne. See more of her work HERE)

Hello Brandon and Steve,

My name is Roxanne and I am a 15-year-old high school student living in the USA. I am an artist in a few different respects; I have been drawing and painting since I was a child, as well as singing and playing the flute. My father is a camera geek (he loves your website), and has taken many photos of me and my sister growing up. Ever since 7th grade I have been very conscious of aesthetics and the beauty of a wonderfully composed photograph. Last year I was really interested in taking a digital photography class, but my schedule would not allow it. This year however, I made sure that I could take it as a minor class.

My dad got me a camera over the summer, and I have had a lot of fun experimenting with photography. I love fashion and photography. I usually use my sister as a model, but I wanted some gender diversity so I asked one of my male friends if he would collaborate with me on some photos. In my photos I focus on human features such as eyes and lips, as well as hair. I also love the curves and sharp angles of the human body, and the shapes that our bodies can make and create. I like to play with light in my photos, and I use it to highlight certain aspects of the human body. I interact closely with my models on posing to create a joint effort and product, but I also like to take control of the photo or be spontaneous with shapes and light.

In the future I would like have more than one model in my photos and take photos professionally, but I am proud of the more portrait-like photos that I have taken after only a year on my journey as a photographer. I am excited to learn more about photography and myself in the process of artistic discovery.

First Photo: “Let’s Get Lost” – click it for full res

This was one of the first photos I ever took. I remember that I wanted to make a photo of my sister like you might see in a fashion magazine, so I put blonde extensions in her hair to cover her brown hair and give her an alien-like look. I did her makeup and picked out a dress. We debated about where to take the photo, but we eventually agreed on the couch in our living room. I turned on a standing lamp and BAM! There was this beautiful light illuminating her face. With the light coming from what seemed like nowhere, my sister took on this ethereal but strong look. The framing of the hair, the half shadow on her face, and the lines of the blinds added to the composition.

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Second Photo: “I Wear You”

This picture was for one of my photography assignments for my class. With this assignment depth of field was our main source of inspiration. I, however, took inspiration from my model. He and I went to middle school together and recently reconnected to collaborate on a set of photos. I wanted to highlight his beautiful facial structure, fine hair, and stunning blue eyes. Overall, it was a pleasure to work and reconnect with him through photography, as well as exploring male fashion and portraiture.

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Third Photo: “Far Alone”

I’m very proud of this photo; I had sketched out many different poses I wanted to try; as well as different paint strokes, but this combination and composition was my favorite. I asked my friend (the same one from the second photo) if he was comfortable with posing shirtless and if I could paint him. After he said yes, we started to get to work. I used the same extension from the first picture, and we secured them under his beanie. I used a black paint and a thick brush to create the stroke on his back. The line and curve of his spine and the shape of his shoulders captured my focus. His hands are very striking, so I wanted to use them in the photo. To me, this photo conveys loneliness and inward focus. He is folding into himself and shutting the rest of the world out simultaneously, as well as conveying fragility and weakness. The shadows around him convey the world closing around him. 

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Fourth Photo: “These Things Happen”

I love the Shadows and his expression in this photo. This photo was actually taken by accident, and he just happened to turn around and give me this expression. I had actually planned on taking a profile, but after I saw this shot I knew I didn’t need to take the profile. Originally he reminded me of a young James Dean in this photo because of the pose and his jacket, but the combination of the look in his eye and his hair really added something extra to the photo. I love the extreme contrast between the blur of the trees in the background and the intense sharpness of even the microscopic hair on his face and his expressive eyes.

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Thank you for reading, and letting me share my artistic journey with you. ☺

~Roxy

PS: I have an album with more of my pictures on Picasa here.

Jan 152016
 

Fuji X-Pro 2 Unveiled. Finally. Here is the lowdown.

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Pre-Order the X-Pro 2 at my fave and most trusted dealers: B&H Photo or PopFlash.com. Amazon is clearing out the X-Pro 1 at $499

FINALLY! The all new long awaited Fuji X-Pro 2 has now been announced with full specs, images and details. What has Fuji delivered this time as an upgrade to their 1st huge mirrorless, the X-Pro 1? Well, I will predict that this will be the coolest, hippest and most desirable APS-C camera available today. With its sleek rangefinder-esque appearance to the hybrid viewfinder giving a unique experience, to the much much faster AF and low light capabilities, the new X-Pro 2 will be huge for Fuji as Fuji fans have been waiting for this one. I was a fan of the X-T1 more so than any other Fuji camera but the X-Pro 2 looks  to be even better with the new sensor and speed and capabilities. I look forward to reviewing it with some of the latest Fuji lenses. Now, let’s take a look…

Well, here is what it looks like. To me, it looks like a more refined X-Pro 1. It keeps the same design but the new 2 has a more polished look about it. 

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The Specs:

24.3MP APS-C X-Trans CMOS III Sensor
X-Processor Pro Engine
Advanced Hybrid Multi Viewfinder
3.0″ 1.62m-Dot LCD Monitor
Full HD 1080p Video Recording at 60 fps
Built-In Wi-Fi, SHARE Printer Compatible
273-Point AF with 77 Phase-Detect Points
Up to 8 fps Shooting and ISO 51200
Weather-Sealed Design, 2x SD Card Slots
Film Simulation and Grain Effect Modes

My Thoughts?

I am happy to see a new Fuji, and I have been waiting for the Pro 2 to see how far Fuji would go. Would they make it full frame? I already knew this was a NO but what they did do was up the Megapixels to 24 with an all new X-Trans III sensor, up from the 16 of the X-Pro 1. They have improved everything from the 1 and the new 2 has everything any Fuji fan would want. The AF will be blazing compared to the X-Pro 1, which is good as I remember my review of that one and having some focus issues…not only speed but accuracy. Fuji has really stepped up their AF capabilities over the years since the original X100 and Pro 1. So AF will be great here. I expect Fuji fans to jump on this body as it will be the best Fuji digital yet. I will be reviewing the X-Pro 2 as I enjoyed the X-T1 quite a bit and while I have moved on to Full Frame with Sony and Leica for my personal use, there are THOUSANDS out there who love their Fuji’s, so stay tuned for a full review soon!

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MORE DETAILS ON THE NEW FUJI X-PRO 2

The long-awaited successor to Fujifilm’s first X-series mirrorless digital camera, the X-Pro2 sports a high-resolution X-Trans CMOS III sensor and redeveloped X-Processor Pro, along with the tested rangefinder-inspired design now synonymous with the X-Pro system. Now weighing in at 24.3MP, the APS-C CMOS sensor incorporates the proprietary X-Trans technology and its randomized pixel array to afford a high degree of sharpness and accurate color reproduction, along with high expanded sensitivity to ISO 51200. When paired with the X-Processor Pro, the camera is capable of recording stills at up to 8 fps and Full HD 1080p video at 60 fps, along with quick focusing and overall performance speeds. Unique among camera designs, the X-Pro2 is also heavily characterized by its Advanced Hybrid Multi Viewfinder that blends both optical and electronic viewing methods into a single, switchable finder, giving you the best of both worlds in regard to clear viewing and the ability to preview exposure settings prior to shooting. Cementing its place as a professional tool, the X-Pro2 also features a robust, weather-sealed body design accented by a range of physical controls for intuitive handling in any condition.

Besides image quality, the sensor and processor combination also avails a highly precise, versatile autofocus system that is comprised of 273 points and uses both phase- and contrast-detection methods.

The phase-detection system covers nearly 40% of the entire image frame with 77 points, which is beneficial to subject tracking and fast overall AF performance, while the majority of the frame is then covered by contrast-detection areas for accurate focusing from edge-to-edge. The imaging attributes also contribute to creative control over the look and feel of photos, such as through the use of Fujifilm’s Film Simulation modes that replicate the look of specific film types, as well as a Grain Effect mode to mimic the textured appearance of film photos. Rounding out the feature-set of the X-Pro2, its design also incorporates a range of customizable function buttons along with a 3.0″ 1.62m-dot rear LCD for image playback, live view shooting, and menu navigation, and built-in Wi-Fi lets you wirelessly share images to mobile devices, remotely control the camera from a smartphone or tablet, or wirelessly send images to the optional instax SHARE Smartphone Printer for on-the-go printing.

24.3MP APS-C X-Trans CMOS III Sensor

Utilizing Fujifilm’s unique, randomized pixel array, the 24.3MP APS-C X-Trans CMOS III sensor affords a high degree of image quality and sharpness due to the omission of an optical low-pass filter. Versus conventional pixel patterns, the X-Trans design more closely mimics the organic nature of film in order to produce nuanced colors and smooth tonal transitions, while also reducing moiré and aliasing.

When paired with the X-Processor Pro, the sensor is also capable of producing clean image quality with reduced noise values, along with a native sensitivity range up to ISO 12800 that can be expanded to ISO 51200.

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Aside from benefitting the low-light performance, the X-Processor Pro also contributes to fast performance throughout the camera system, including a start-up time of 0.4 seconds, shutter lag time of 0.05 seconds, shooting interval time of 0.25 seconds, and AF speeds of up to 0.06 seconds. Coupled with the on-sensor phase-detection AF, up to 8 fps continuous shooting is also possible with full-time motion predictive AF for tracking fast-moving subjects while shooting. The ability to record compressed raw files also helps to expedite file transferring for longer continuous burst shooting, and both a fast top focal plane shutter speed of 1/8000 sec. and a flash sync speed of 1/250 sec. further contribute to shooting versatility.

Beyond stills shooting, the X-Pro2 also supports recording Full HD 1080p video at 60 fps with a 36 Mbps bit rate, along with the ability to work with 50, 30, 25, and 24 fps frame rates for greater recording flexibility.

Advanced Hybrid Multi Viewfinder

Both optical and electronic viewfinder types are incorporated into the unique Advanced Hybrid Multi Viewfinder, which lets you select from the simplicity and familiarity of an OVF as well as the versatility of an EVF. Changing between viewing types is quickly performed via the dedicated finder switching lever on the front of the camera body.

The optical viewfinder provides a clear, lifelike view of the scene for easier composition and subject tracking. Its enhanced design incorporates an Electronic Rangefinder function, which mimics the functionality of a mechanical rangefinder, and simultaneously overlays information from the electronic viewfinder on top of the optical viewfinder for comparative manual focus control. The OVF is also benefitted by a Multi-Magnification function that automatically switches the viewfinder magnification according to the mounted lens’ focal length and a Bright Frame Simulation function, which simulates the varying angles of view from different lenses to confirm which focal length is needed, prior to switching lenses, for the composition in mind.

In regard to the electronic viewfinder, this sports a high 2.36m-dot resolution along with a fast 85 fps playback speed to reduce lag for smoother panning and tracking movements. The EVF lets you preview exposure settings prior to shooting and has a customizable display, for configuring the amount and type of information shown in the viewfinder.

Intelligent Hybrid 273-Point Autofocus System

Blending both phase- and contrast-detection focusing methods, the X-Pro2 is capable of acquiring focus both quickly and accurately. The entire system is comprised of 273 points, of which 77 are phase-detection points for faster performance that is beneficial to photographing moving subjects. Approximately 40% of the imaging area is covered by phase-detection points, too, to offer greater compositional freedom without sacrificing fast autofocus performance. The majority of the frame is then also covered by an apt contrast-detection focusing system that has been quickened by the camera’s refined processing power for more versatile control. For refined manual focusing control, a Digital Split Image function is available, that simulates traditional rangefinder focusing, as well as Focus Peaking to highlight lines of contrast in the scene to more objectively determine sharp focus.

Body and Interface Design

In addition to the Advanced Hybrid Multi Viewfinder, the X-Pro2 also features a 3.0″ 1.62m-dot rear LCD screen for clear live view shooting, menu navigation, and image playback.
Supporting its use in harsh climates, the durable weather-resistant body design is constructed from four pieces of magnesium alloy and sealed in more than 61 places to protect against dust, moisture, and cold temperatures down to 14°F.
Dual SD card slots allow for a more flexible and reliable means of storing imagery, and the first card slot is compatible with UHS-II standards for fast transfer speeds.

The top plate incorporates a series of milled aluminum alloy dials and levers for fast, intuitive adjustment over exposure settings, including a shutter speed dial that offers a mechanical shutter speed range from 1 to 1/8000 sec., as well as bulb and time settings. An ISO dial is also incorporated into the shutter speed dial, for confirming the sensitivity setting without having to turn the camera on. The exposure compensation dial lets you choose +/- 3 EV in 1/3 steps, and a command dial position expands the range to +/- 5 EV for further control.

Front and rear command dials integrate a push function for easier use and settings selection and six different function buttons can be assigned to control a range of settings.
A dedicated Focus Lever provides faster, more intuitive control over selecting specific focus points while shooting.
An updated graphical user interface features a My Menu section, where you can register up to 16 items to quickly access. This pairs with the Q Menu, which also provides shortcuts to 16 oft-used settings, bringing the total up to 32 distinct functions, settings, or other controls than can be accessed in a quick manner without having to delve into a more intricate menu system.

Film Simulation and Grain Effect Modes

Taking advantage of Fujifilm’s vast history in traditional film-based photography, the XPro2 integrates several Film Simulation modes to mimic the look and feel of some Fujifilm’s classic film types. For monochrome shooting, the Acros mode offers smooth tones, deep blacks, and fine detail reminiscent of the Neopan 100 Acros film type. A refined Classic Chrome mode is designed to deliver muted tones and a deep color reproduction, similar to that of a dated slide film. Pulling from their more contemporary line of transparency films, Provia offers natural-looking tones for everyday shooting, Velvia produces a more dramatic and rich tonality with deeper color saturation, and Astia gives less contrast for a softer depiction of skin tones. Mimicking their negative films, Pro Neg. Std. gives smooth image tones that are suitable for accurate color renditions, while Pro Neg. Hi produces a more dramatic feel with the ability to draw color out of a variety of lighting conditions.

In addition to simulating specific film types, a Grain Effect mode is also available to replicate the look of old film photos with an organic textured appearance, which is especially noticeable when printing.

Other Camera Features

An electronic shutter function permits using shutter speeds up to 1/32,000 sec. for working with wide aperture settings in bright lighting conditions.
Built-in Wi-Fi enables wireless transferring of imagery to linked mobile devices as well as remote control over camera settings and the shutter via the free Fujifilm Camera Remote app. Additionally, this connectivity enables the use of the optional instax SHARE Smartphone Printer for wireless instant printing via the instax Share app.

An interval timer permits recording time-lapse sequences and can be configured to record up to 999 frames in time spans ranging from one second to 24 hours.

Multiple exposure mode gives you the ability to overlay imagery in-camera. When working in this mode, subsequent exposures can be paired and the final appearance can be previewed on the LCD or in the EVF before making the final exposure.
Additional Advanced Filters can also be used to creatively enhance the look of imagery in-camera, and include Toy Camera, Miniature, Pop Color, High Key, Low Key, Dynamic Tone, Soft Focus, and Partial Color (Red/Orange/Yellow/Green/Blue/Purple).

Jan 112016
 

A Look at The Leica 50 Summilux ASPH Black Chrome Special Edition. Beautiful!

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Ahhhh, gorgeous! Recently I was able to get a hold of a Leica 50 Summilux ASPH Special Edition. This is the beautiful matte black edition of this legendary lens with a different design (from 1959) and even smaller filter size (43mm vs 46). The last time I had a 50 Summilux ASPH that looked like this was during the M8 days when I bought the LHSA Special Limited Edition version, which was exactly the same as this one, just in black paint (also came in Chrome) instead of matte black chrome. That lens..I paid $3600 for back then and sold it for $8000 later on as it appreciated like mad. Even today that version of this lens sells for $7500+ USED. It came in Black paint of Chrome. Take a LOOK HERE at a used LHSA 50 Lux on B&H. $7500. It is exactly the same as this new limited edition inside and out! Design, hood, everything. SO why would one pay $7500 for a used version of this lens when you can get it new for $3900 or so? Well, if you are a hardcore collector and want the LHSA edition for the LHS name (on the box) then maybe you would. If you want to use the lens, this new Limited Edition is the way to go over all versions of this lens, IMO.

My video showing you this lens and why I think it is the best 50 Lux you can buy today..

To date I have tried around 8 50mm lenses on the Leica SL and Sony A7RII so far and my faves have been the 50 APO cron and now this 50 Lux SE (others are the Zeiss 50 Planar, Zeiss 50 Sonnar, Voigtlander 50 1.5). But for me, this Lux Limited Edition makes much more sense to be my main 50 for my SL and my Sony as only 500 were made, and it is a lens that will go up in value instead of down like all other lenses today. Just like the limited number LHSA edition that even today sells for $7500 used ($4k more than it sold for new), this version should creep up over the years, not down.

50 1.4 Lux ASPH LE at 1.4 – click it for better version – All images here shot on the Leica SL

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This one was sent to me by Ken Hansen to try out and what a beauty it is. The lens has a heft to it that makes it feel UBER solid. Much more solid feeling than the standard 50 Lux. The focusing is also smoother, and no focus tab which is a plus for me. The scalloped focusing ring is easy to twist and dial in. This and the LHSA edition are the most beautiful 50 Lux ASPH’s I have seen, and I also have one more reason I prefer it to the normal Lux. Overall Quality.

For some  reason when I used to own the LHSA LE edition of the Lux ASPH it was sharper and performed better than the standard Lux ASPH I had at the time. Same here, this Limited Edition is PERFECT and seems snappier and crisper at the focus point than the standard Lux I have here. I feel that these limited runs may be made to a higher standard as I have now experienced this TWICE. I feel these LE’s may be assembled with a little more perfection as they are a limited run. No other way to explain it.

Must click images to see them correctly – always best on large screens!

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Sof or the obvious reasons of beauty, construction, perfection and the fact that this lens will not go down in value (as it is a limited edition) means this will be my main go to 50mm on the SL or A7RII for me, and after testing all the 50’s I had interest in for my SL, this is the winner even though the 50 APO is technically perfect (this one is a better deal IMO at half the cost) It just feels so good, looks gorgeous and is much easier to focus without the tab (some may prefer the tab though). It has a serious little heft to it but as you know, it’s small. This lens also comes with a very nice and solid brass hood and cap (black chrome) and it sticks to the old 1959 version in all ways having to do with looks and design, but with modern internals. This means no slide out hood, instead you must attach it on and off manually.

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Here is what Leica has to say about this Special Edition:

Resembling its predecessor from 1959, the black-chrome edition Leica Summilux-M 50mm f/1.4 ASPH. Lens features a unique matte black finish along with a classic exterior design akin to the first production run of this renowned lens. While recalling its past on the outside, this edition is also characterized by its contemporary optical design that incorporates one aspherical element and one floating element, as well as elements made from anomalous partial dispersion and high refractive index glasses.

This sophisticated construction helps to reduce chromatic aberrations and distortions throughout the focusing and aperture ranges, which contribute to high overall sharpness and clarity. Further benefitting the lens’ overall versatility, the fast f/1.4 maximum aperture also aids in working in difficult lighting conditions as well as offers greater control over focus for shallow depth of field techniques. Pairing a classic outer design with innovative optical components, this black-chrome edition is the epitome of Leica’s penchant for mixing both form and function.

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As part of a limited edition of 500 pieces, this black-chrome finish Summilux-M 50mm f/1.4 ASPH. lens features a matte black exterior as well as an outer design that resembles the first edition of this lens from 1959. Other distinct design elements include a scalloped focusing ring, red-colored focusing distance scale in feet, and a finely-knurled aperture ring. In addition to the unique appearance of the lens, this edition also includes a metal front lens cap as well as a metal round lens hood.

One aspherical element and one floating element are incorporated within the optical design, along with anomalous partial dispersion and high refractive index glass elements, to control aberrations and distortions at all aperture and focus positions.
Fast f/1.4 maximum aperture benefits working with selective focus and shallow depth of field techniques, as well as working in difficult lighting conditions.

Manual focus design provides a minimum focusing distance of 2.3′ (0.7 Meters) with a maximum magnification ratio of 1:11.3.

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WHERE TO BUY…NOW..for a NORMAL PRICE!

If you want this lens do not pay $5,6 or 7k on E-Bay where sellers are trying to take advantage of the limited edition name tag on this lens (it is limited to 500) Ken Hansen has a few IN STOCK NOW. You can e-mail him at [email protected] if you want one! Tell him I sent you! He has only a limited few left!

PopFlash had one. It seems to now be gone.

B&H has them IN STOCK as well.  Normal retail price of $3950

Jan 062016
 

The New Olympus 300mm f/4 Pro Lens! Holy Telephoto!

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Olympus has announced a new lens for the Micro 4/3 system in the form of a 300mm PRO f/4 Prime lens, and believe me..this lens will be quite special. Think about it. This lens will deliver a 600mm equivalent on your micro 4/3 body giving massive reach. Between Olympus and Panasonic we have some of the best lenses in the digital photo world available to us. The new 300mm PRO lens is available NOW for $2499 in the USA and $3299 in Canada. I think this lens will make many Micro 4/3 shooters VERY happy as this will offer a level of performance at the top of the heap. Olympus knows how to make amazing glass.

YOU CAN ORDER THE NEW 300 F/4 PRO LENS AT B&H PHOTO – HERE. 

You can buy it at AMAZON HERE

I look forward to reviewing this beautiful piece of glass. SOON ;)

 

PRESS RELEASE FROM OLYMPUS:

A NEW WORLD OF HANDHELD NATURE PHOTOGRAPHY:  THE OLYMPUS M.ZUIKO® DIGITAL™ ED 300MM F4.0 IS PRO ARRIVES

Super Telephoto Lens with Powerful 5-Axis Sync Image Stabilization and Olympus’s Highest Resolution Ever in a Compact, Dustproof and Splashproof Body

CENTER VALLEY, Pa., January 5, 2016 — Olympus is pleased to announce the Olympus M.ZUIKO Digital ED 300mm f4.0 IS PRO, a compact super telephoto lens that expands the capability of the M.ZUIKO PRO series of professional, splashproof and dustproof lenses that deliver outstanding image quality under any circumstance. The M.ZUIKO Digital ED 300mm f4.0 IS PRO is the first Olympus interchangeable lens with a built-in image stabilization mechanism, and when paired with the Olympus OM-D E-M1 (firmware version 4.0) or E-M5 Mark II (firmware version 2.0), in-body and in-lens image stabilization work in perfect harmony, resulting in the new 5-Axis Sync IS technology to produce the world’s most powerful image stabilization performance of up to six shutter speed steps of compensation*.* The lens can also be used effectively with other camera bodies, as the in-lens stabilization mechanism alone provides four shutter speed steps of compensation.

With a length of 8.9 inches (227mm) and weight of a mere 2.8 pounds (1,270g), at one-third of the size and weight of most DSLR 600mm equivalents, the M.ZUIKO Digital ED 300mm f4.0 IS PRO is designed to slip into an airplane carry-on bag or backpack and go anywhere to help users easily capture handheld images in once-challenging photo destinations. Despite its compact size, the lens is hermetically sealed in 17 places and features freezeproof performance down to 14⁰F (-10°C). Together with the same splashproof, dustproof and freezeproof performance as the OM-D E-M1 and E-M5 Mark II, this ensures you can capture high-quality images in the harshest environments.

The M.ZUIKO Digital ED 300mm f4.0 IS PRO debuts Olympus’s highest-ever resolution by combining three Super ED lenses, one Extra-High Refractive index lens and three High Refractive index lenses to reduce the color bleeding and chromatic aberrations that tend to occur on typical super telephoto lenses. In addition to Olympus’s renowned ZERO Coating (ZUIKO Extra-low Reflective Optical Coating), a brand-new lens coating technology called ZERO Coating Nano suppresses reflected light to minimize ghosts and flares for extremely sharp details of images, including car headlights. A layer of nanosized particles and a layer of air from the center to the surface of the lens achieves a refractive index similar to air and significantly reduces surface reflection.

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The M.ZUIKO Digital ED 300mm f4.0 IS PRO also gets up close to explore the beautiful, minute world of telemacro photography with maximum image magnification of 0.48x (35mm equivalent), with a minimum focusing distance of 46 inches (1.15m) from the end of the lens. When combined with the M.ZUIKO Digital 1.4x Teleconverter MC-14, the user can capture all of nature’s beauty in high resolution at 840mm (35mm equivalent) and an increased image magnification of 0.67x (35mm equivalent) in a handheld compact body while maintaining the same minimum focus distance.

The OM-D’s silent mode combines with the lens’ Movie & Still Compatible mechanism for silent AF and shooting, giving the user the ability to blend into the background of any situation, whether that be the refinement of a symphony performance or the dusty plains of a lion’s hunting grounds.

The lens also features a Manual Focus Clutch mechanism that makes switching to manual focus possible by pulling the focusing ring toward you. The side of the lens barrel features a Focus Limit switch (4m to infinity, all range, 1.4 to 4m), an IS switch (On/Off), and an L-Fn button, which can all be operated without ever taking your eye off the viewfinder. The built-in sliding lens hood can be locked into place when extended, and the tripod base plate with a quick shoe compatible rail is removable.

U.S. Pricing and Availability

The M.ZUIKO Digital ED 300mm f4.0 IS PRO lens is available now for an estimated street price of $2,499.99 (U.S.) and $3,299.99 (Canada).

*As of December 2015. CIPA guideline compliant, when correction is carried out on two axes (yaw and pitch) and when halfway release image stabilization is off.

ABOUT OLYMPUS AMERICA INC.

Olympus America Inc. is a leading provider of digital imaging and audio technology solutions, noted for its precision optics and groundbreaking technologies.

For more than 90 years, Olympus has innovated and developed best-in-class products that expand the boundaries of product design and functionality, empowering consumers and professionals alike to capture their stories. These include:

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For more information about Olympus and our award-winning products, please visit getolympus.com or connect with us and other fans like you through our social and photographic communities: @getolympus on Facebook, Twitter, Tumblr, YouTube, Pinterest, Instagram and Flickr.

Specifications and design are subject to change without any notice or obligation on the part of the manufacturer.

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Copyright © 2016 Olympus America Inc.
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Dec 312015
 

Happy New Year to all! I appreciate all who come here, so thank you!

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Hello to all! Here we are, New Years Eve 2015. Another great year has flown by and another amazing year is on the way. It’s funny but in 2015 I took some time off of this site to work on other projects in my life and this site did better than ever in 2015. Crazy! Without all of you here every day I would not be here, so it is YOU, ALL OF YOU who make this site a success and a joy for me to work on each and every day.

It seems many new shooters found my site this year, so welcome! Also, in 2015 this site brought in some new site sponsors such as JB DESIGNS, TENBA BAGS, 4 SHINY BUTTONS, WOTANCRAFT and HOLD FAST GEAR. Long time sponsors are still here as well…Ken Hansen, PopFlash.com, CameraQuest.com and LensRentals.com.  So thank you to all sponsors as well! Without them, I would not be able to pay for  this site every month to keep it live.

I also want to give a HUGE personal thank you to those here who have used my links to B&H Photo or Amazon this year. By using my B&H Link HERE or my Amazon link HERE when you buy something, ANYTHING (even paper towels) I get a few cents on each dollar that also helps to maintain this site.

In case some of you were unaware, this site has been my full-time career for 7 years now. It is what I do. All I do to earn a living. When you see me using new cameras every month or two or three it is because I review them ;) If at anytime you are curious as to what I use for my personal gear at this time, check out the MY GEAR page HERE. This is what I use for my personal photography day in and day out. Right now it is the Leica SL (used to be an M 240) and Sony A7RII as my main go to cameras. I also use my Olympus E-M5 II with the 8mm fisheye and 7-14 pro quite often. Lovely cameras, all of them.

But today there really are no wrong choices when it comes to what camera YOU will buy. Any enthusiast or pro model will be amazing. Most cameras sold today are superb regardless of price but the upper end gets you more resolution, better IQ, better build, features, etc. All one needs to do is look at what is available and go with what speaks to them in their price range. If you love the camera you shoot, it does not matter what anyone else thinks of it. ;) Remember that.

I get asked all the time if constantly shooting new cameras for review kills my passion for the craft..well, sometimes it does but it never lasts longer than a week. I get in slumps as we all do but always break out of it and get re-motivated to shoot. This weekend I will be out shooting with my good friend Ashwin Rao, who many of you know from his own work, website and this site as he has been writing for me for years and years. Kurt Kamka who many of you may know will also be with us. My passion is alive and well, and I look forward to any shooting time I can get in.

Lately I have been stuck in my house every day due to some remodeling and construction I have to oversee but with all of that now completed, which is why the last couple of posts have shows comparison images of my dogs, yard, etc. I will be heading on full forge in January with new posts, new reviews and some new surprises. So expect this site to grow even more in 2016. Funny as this site started as a hobby using an Apple iWeb site. Shows what can happen when you have a passion and stick to it, regardless if you make a dollar or not, and believe me, I made practically nothing for 4-5 years! But it was all worth it as this site is still my baby, my pride and joy and it is nice to know that even when I am dead and gone I will make sure all of my reviews, posts and articles will always remain online. Yes, this site will never die, even when I do ;) I look forward to being 80 years old and writing my thoughts on whatever image making device we have available, even if by then I have an audience of 10 or 1 million. SO yes, this is my passion and will always remain just as it has my entire life.

Site Stats: Over 120 MILLION views and 123,879 comments since the 1st post on this version II site which started in 2009, a year after the original site which is now gone. 

I HAVE YOU TO THANK FOR THIS SO THANK YOU ALL!!! I promise to do my best in 2016 to deliver honest, exciting and thorough real world reviews and reports! Around 20 million visitors per year, or an average of 1.6 million per month since November of 2009. Wonder what my 1st post ever on this site was? See it HERE or check out the INDEX of EVERY POST ever HERE. 

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Coming in January 2016: A fresh look at the Jupiter 8 and 9 lenses, as used on the Leica SL and Sony A7 series. Without the RF focus issues of these Jupiter lenses, they perform amazingly well on newer EVF cameras such as the SL and A7RII or A7SII. Take a look below at a shot from the cheap Jupiter 9, which is an 85mm lens that I bought for $50-$70 or so if I remember correctly. Sure, its from my yard again but as stated, I have been stuck in all week!

The Jupiter 9 on the SL CAN BE quite nice. It has a rounded rendering but also has some bite to it with the SL sensor. I paid around $70 for this lens. It has a stiff sticky focus ring, is beat to hell and looks like crap but it works ;) 

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Debby with the Jupiter 9 at f/2 on the SL – click it for more details

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The Jupiter 8 which is the 50 f/2 model (that costs me $30) also does very nice on the SL  – click it for sharper version, same as above. 

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The Jupiter 8 on the SL

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Also coming in January, a new look at the Zeiss 50 1.5 Sonnar ZM lens on the SL and A7RII. I will also look at the Voigtlander 35 1.2 M lens, a classic on both cameras as well. Always nice to see some old fave lenses on new bodies to see how they hold up as each camera will render images differently, even with the same lenses! Going  to be fun. I will also be reviewing the ICE LIGHT 2 (overpriced) and a super cool Wotancraft Watch band for the Apple Watch. I love it.

Wotancraft not only makes amazing bags, they make amazing leather watch bands. Here is one they made me for my Apple Watch. You can browse their watch band collection HERE. If you want an Apple Watch band, you can email them a request for any band they make. (Apple Watch bands are not yet up on their website).

See wotancraft.com here

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In addition there will always be amazing guest posts, news tidbits and the daily inspiration series (which is never really daily but spread out to 3-4 per week). I want to once again thank all visitors, all guest contributors, all sponsors and all who have shared links, posts and all of that good stuff. I even thank the trolls here as you provided some ridiculous entertainment through the year for me. I may ban you and delete the troll comments but they are so silly I always get a laugh out of them. My fave from this year? “I guess Sony missed this month’s payoff to you, now you like the Leica“.. That made me laugh as NO CAMERA COMPANY pays me to write reviews or say good things. In fact, most of them tell me”BE HONEST” which is in their best interest. It is also why some cameras are not reviewed here as if I do not like them, I would rather not waste my time or week reviewing them. I like to review what I love, and I hate negativity in life, in any form, so if you do not see a mirrorless camera reviewed here it is simply because I did not like it when I tried it, and I try them all. Easy :)

ANYWAY….

I hope ALL of you had a great 2015 and I am spreading good vibes for all of you to have an even better 2016. I do not know why but I think 2016 is going to be the best ever for STEVEHUFFPHOTO.COM!

Be safe tonight if you head out for New Years Eve festivities! I will be spending it with family and friends in my home and will most likely be taking tomorrow and the weekend off, so see ya next week! BE SAFE!!!!

Steve

HAPPY NEW YEAR!

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Dec 302015
 

Quick Shot: Leica M240 W/ 35 Summilux

By Patrick 

Always smile and say hi to strangers! They might end up posing in a photo for you!

Last week I was flying home from Chicago and found myself in a tunnel connecting to my terminal. I stopped to see what interesting silhouettes I could capture when I saw two women shooting the same scene. They were also Leica shooters. After nerding out on cameras for a bit I asked the one woman if she’d be interested in posing. We shot about 10-15 frames before we exchanged Instagram info and then went on our separate ways. Later that day we connected and decided to exchange prints of our work with each other!

This was shot on a Leica M 240 with a 35 Summilux FLE at f4

Feel free to follow and check out more of my work here:
https://www.instagram.com/patrick_conaty/

Thanks,

Patrick

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Dec 292015
 

CRAZY COMPARISON! Leica 50 APO vs the Zeiss Planar ZM

So what happens when you take what is considered by many (even me) to be the best 50mm lens in the world (and costs $8000 though is on special through the end of the year for $7250) and compare it to a lens with a massive ambition to be the best it can be (that costs $860)?

Yep, same mount which is the Leica M mount, and same apertures were used for these crazy comparisons. Basically I was curious how much we lose by going from the $8k APO to the $800 PLANAR. After all is said and done, yea, we lose a bit but not as much as one would think. I only had the Planar for a day or so and was limited to what I could shoot for this test but I have shot both lenses extensively for years and the character you see here, is the character you can expect from each lens, when shot on a Leica SL as these were.

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*Before I begin, check out my old Zeiss 50 Planar review HERE, and my follow up from a year or two ago HERE. Then see my 50 APO Review HERE and the follow up HERE. *

The Zeiss 50 mm Planar ZM lens is a stunner, and one that had many buying it up for the M9 as it performed to a higher level than the old Leica 50 Summicron. I still feel the old Leica has the edge in build as many 50 Planar lenses have reportedly become loose after a few years (aperture ring or focus mechanism). Construction will always go to Leica but as for IQ, color, contrast, bokeh…the little $860 Zeiss does in fact IMO beat the old 50 Cron in many ways, and will even challenge the latest Leica 50 APO, which is Leica’s cost no object masterpiece of 50mm perfection.

Before I go on with the samples I will state that in my opinion, the 50 APO wins EASILY in Bokeh and OOC color and the overall smooth butter like rendering. The APO also has no distortion and no issues with CA/Purple Fringing. The Zeiss on the other hand can have busy bokeh which is its main weakness. Other than that the Zeiss has a more muted color (out of camera) at times and looks more “dull” to me. The Zeiss also has some barrel distortion that is visible in certain images (but only straight lines up close).

The 50 APO color and contrast is as good as it gets but the Zeiss holds its own and for a price difference of over $7000 retail, one could buy the Planar, the Zeiss 50 1.5 Sonnar, a Zeiss 25 2.8 (review) and a Leica 90 Summarit (review) and still have over $2000 left over. Yep, 4 new lenses and $2k could be had instead of one 50 APO. But then you lose out on the awesome Bokeh, color and contrast that the 50 APO gives you as well as the distortion free corner to corner amazingness it can offer but EVEN SO, no one “needs” an APO. This lens is all about “WANT” for anyone who buys it and if you have the cash, that is A-OK! But if you don’t want to bust the wallet and want a 50 f/2 cron type M lens, take a look below at what the 50 PLanar can bring to you…

BELOW: CLICK THE IMAGES TO SEE THEM CORRECTLY WITH 100% CROPS – ALL SHOTS LEICA SL

1st set, 50 APO up top, Planar bottom. Here I see smoother bokeh in the APO shot, a tad bit of a bolder color and as for detail in they crop,  they are pretty similar. The 50 APO is like butter.

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What I notice in this 2nd set is the color. The color and tone from the APO is perfect. The Planar is a tad more dull and off, BUT it is pretty close! VERY close! So close many will not see any difference here.

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Hmmmm. Click on these and you tell me which you think is best. Top is 50 APO, bottom is the Planar.

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Again, top APO bottom Planar…

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This set has 4 images. The top two are shot at f/2, the bottom two was shot at f/4. Click them to see larger. Here you can see the bokeh in the Planar shot is busier…

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… and at f/4

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AND NOW…CAN YOU SPOT THE APO SHOT?

Look below and click on the images. One is from the APO and one is from the Planar, but which is which? Can YOU tell? Just leave your guess in the poll below the images!

A – Is this from the APO?

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B – or is THIS from the APO?

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Vote in the poll below to take a guess. I will reveal the answer by Friday, Jan 1st!

BELOW is the poll results from the past 3 days. 71.63% of you guessed IMAGE A was from the 50 APO Leica. This is wrong. Image B is from the APO. Image A is from the $860 Planar. Makes you think huh?

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So most of you guessed wrong which speaks volumes for the little Zeiss Planar. WOW.

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What this entire comparison told me is that while the 50 APO is gorgeous in almost any situation, the little Planar is still up there with the best. Of course the Leica build is on an entirely different level. The 50 Planar is pretty lightweight and as mentioned, there have been many mentions of them coming loose over time. But for $860 the Planar would be the best choice for many as the huge $7000 savings can not be ignored. Oh, and I only had the Planar for one day, so my testing ability was limited to what you see above.

WHERE TO BUY either of these great lenses?

You can buy a Zeiss 50 Planar on Amazon HERE (prime eligible)  or B&H Here.  PopFlash.com also sells it for a better price HERE. 

If you have the desire for the best of the best, even with diminishing returns kicking in, the 50 APO can be bought from Ken Hansen, his email is [email protected]. You can also buy at PopFlash.com, B&H Photo or Amazon. 

Dec 212015
 
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The Leica 50 Summicron f/2 APO Lens Review Part 2 – Leica SL

By Steve Huff

Ever since shooting the $8,000 Leica 50 APO on the Leica M 240 a year and a half ago I have been smitten by this tiny, compact and amazing performing 50mm lens. I have never experienced a 50mm quite like it and it was the ONLY LENS I used on the M 240 (and I used them all) that made the camera perform on another level than it normally does. The color, the contrast, the pop, the details, the smooth bokeh that is reminiscent of classic and modern, the super smooth slide out hood, the complete lack of distortion and CA, the ability to turn 35mm full frame into what starts to look like Medium Format.

I have never used any lens like the 50 APO as it has the ability to bring out the best of your sensor when used on the Leica M 240 or SL. When used on the Sony A7s and A7SII it is equally as amazing but on the A7RII it does suffer from soft edges and a tad bit of softness in general when compared to using it on the A7S or a Leica. I will show you a side by side later on down in this review of just that.

50 APO, f/2, SL. Love the way this lens and camera does B&W. MUST click the image to see it the way it was meant to be seen.

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But let’s be clear, this lens is made for a Leica. Also, it is better than my photo abilities and skills, and would probably remain so for the rest of my life. :) At this price, it SHOULD be reserved for real pros who earn income from their photographs, well, that is how I would expect it to be, but us enthusiasts also love it as many of us dream about this beautiful hand constructed 50mm masterpiece. I think many of us WANT IT simply because of the claim it makes…BEST 50 IN THE WORLD. Some even say BEST production lens in the world, period.

The Color. The Rendering. The Buttery Smooth Bokeh. Leica SL + 50 APO

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If you missed my review of this lens on the Leica M, check HERE. Then click HERE to see some shots on a Sony A7s (gorgeous rendering). Then see more of it on the M when I shot some COMICON photos.

This lens as shot on the M 240.

The 50 APO and the M 240 are a perfect match, without question, best lens I have used on the M 240, ever. More of these are at my Comicon report HERE. Had great lighting that day as well!

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OK, so here we go!

This Part 2 review will mainly go into how it does on the SL, Leica’s new, and IMO, best ever digital camera (and my camera of the year 2015). The SL is a marvel for SO MANY reasons. It is so hard to convey in words and the fact is, no one will really “get it” until they use one for a day or two and use it with M lenses as well as the native 24-90. Then you will say “Holy Shit, this is amazing in all ways”.

As of today, December 21st 2015, the SL is my #1 go to daily camera with a 28 Elmarit M lens and the 50 APO with a 90 APO to be added soon (when I can afford it). No camera, even the M, has given me as much joy of use as this SL. It truly is like shooting a Mini S Typ and the EVF WILL SPOIL YOU, it really will. But hey, we are here to talk about the 50 APO on the SL, so let’s get to some samples!

This shot was taken at night, in my home. The only light source was the one behind Debby and the one above her, in my Kitchen. So indoor Kitchen lights. Shot at f/2, this is pretty damn good for the circumstances. 

YOU MUST CLICK IT to see it correctly! 

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…and a quick and dirty B&W conversion, just by sliding down the saturation, no filters or tricks. 

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If you read the 50 APO review as used on the Leica M, you will see that it gave some of the best color, contrast and pop ever seen from the M sensor. This lens performs mostly the same way on the SL. It has striking contrast, gorgeous color, and sharpness anywhere you need it. Again, click on the image below of this CD cover and marvel at the detail. bokeh, color..and keep in mind, this is out of camera as shot at night in my Kitchen, with my nasty Kitchen lights. The AWB nailed this, and the lens brought out the amazing pop of this lens.

CLICK IT! Shot at f/2 wide open, where this lens LOVES to be shot. In fact, it is optimized for f/2 and I would NEVER shoot this lens at f/8 as that would be a crime. IN fact, once you get to f/8 diffraction will lower your IQ, so stay with f/2-f/4 for the best IQ and character. 

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Using an ICE LIGHT 2 that I am testing, I shot this with the light at its lowest output setting in a totally dark room. ISO 4000, f/2, JPEG

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Details and Bokeh. Look at the detail where I focused (crop can be seen when clicked on) and look at the silky smooth bokeh. No, the 50 Lux can not do this, I tried. 

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It will cost ya!

The Leica 50 APO lens price sounds absurd to 99.9% of those who love photography. Some get mad about this lens as I see some saying “My 50 1.4 Nikon can do this”, or “My 50 Lux beats the APO”…this happens with people due to the cost of the lens. The high price makes some out there get negative and mad without even realizing what it took for Leica to even release this lens. This lens was a nightmare for Leica early on. HUGE amounts of finished lenses would be thrown in the dumpster as they were not perfect.  A much higher number of lenses were thrown out than kept and Leica was probably starting to regret ever having this lens made. The 1st batch sold had flare issues, and had to be corrected yet again by Leica. Today though, all new 50 APO’s sold are perfect, or at least they should be. Leica has the production of this lens down by now, without question. Mine is distortion proof, artifact proof, flare proof and gives me the same bite and color in any light I use it in. It’s a special lens for sure.

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It was also a statement piece from Leica to tell everyone “This is the best lens we can make at this time, period”. Coming from the king of optics, Leica, we knew it had to be special but I am a big fan of the old 50 Summicron, which I still adore.

But when side by side the color difference between the two is MASSIVE. The micro details with the APO are just not there in the standard, the Bokeh of the old version was considered by MANY to be awful. I never had an issue with it but it could get busy in some situations. Not the APO. This lens has the best of everything, and while we do not get the classic slight bokeh swirl of a Summilux at f/1.4 we do get a unique rendering that is very pleasing to the eye.

Many I know who own it call it “BUTTER”.

The rendering is just so nice. I shot these roses at a gravesite and added some Vignetting myself for effect. The 2nd shot, again, in my home at night! The color, bokeh and details are incredible. 

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This lens was designed by Peter Karbe. A genius and IMO, probably the best and coolest lens designer in the world. See the video below where he talks about the 50 APO. Then click here to read an interview with him by Thorsten Overgaard where they discuss the details (and Thorsten’s skepticism) of the 50 APO.


The old 50 Summicron was designed by Mandler and is one of his last designs. It is also a legendary lens that has stood the test of time again and again, always considered at the top of the 50mm heap. It has a way of shooting poeple and portraits that borders on magical at times, if your lighting is just right. With the new 50 APO, it seems any light is OK as this lens takes what you aim it at, and somehow, even in the worst of light makes it look great. It is a huge step up from the old version but even so I still love the old one as it gives a totally different rendering.

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1st image  – in my office, no light on, at night. Only light source is my display. I shot this at ISO 2000 on the SL with the 50 APO at f/2. Click it to see how smooth it is, how fantastic the color rendering is, and how it just looks so good, even at ISO 2000 without any noise reduction. Must click it!

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This is my dog Olive sitting in a light patch that was coming in from my window. For this I converted to B&W and enhanced contrast more to give a striking look. I missed perfect focus on this one as she was moving her head..

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Using the 50 APO on the Leica SL was a treat. No rangefinder to worry about (going out of alignment) so nailing focus was pretty easy (unless you are trying  to focus on something that is moving, then the 24-90 would be perfect) with that massive bright beautiful EVF (which should be on all cameras today) I managed to use no peaking, peaking and magnification and nail photos. The best method though for me, using a manual lens is using the magnification. It will ensure you nail focus every time. I maybe missed focus on 1 out of 10 shots using no peaking, and maybe 1 out of 20 using peaking. By comparison, using it on an M you can get 100% in focus shots if your RF is in alignment. If it is not you have to learn tricks on how to nail focus and it’s a hassle and rarely works, until your M’s RF is fixed. So on the SL this lens is a joy to use. Never frustrating.

More 50 APO..all should be at f/2. Click them for larger versions. 

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But who would pay $8k for this lens when a 50 Lux is less than half price?

That is the question and to be 100% honest, this lens will not make anyone a better photographer. As I said, it goes beyond my skill set but I still love the lens. Do I need it? NO WAY. Would the older 50 cron do me just as good? Sure, as I no longer shoot pro for money. My main shooting these days, personal shooting, consists of family, trips, friends, etc. Something my Sony RX1000 IV is perfect for. So why do I have a 50 APO? Because I love camera gear, lenses, and many of you do as well. We know we do not “need” an item such as this, but we “want” it and wanting something like this is dangerous!

Luckily there have been special prices on this lens recently. Overstock cleared out three of them at $6000 last week (see post here) and you can find special prices every now and then on PopFlash.com or by emailing Ken Hansen. I received mine, new in box, as part of a trade deal I did with Ken Hansen because there is no way I could just part with $7-8K for a lens like this. The mental strain would be awful as I would constantly be saying to myself “Why did you buy this…you do not need an $8000 lens”!!! Lol.

With that said, shooting with and owning  this lens is a special thing. I feel blessed to actually own it, along with my other gear (SL, A7RII, RX100, RX1, etc) and I know that one day wether that is tomorrow or next year, I will get a shot using this lens that I will want to frame, and then it will make it all worth it. Hell, the joy I get from it is massive and I do indeed prefer it to the 50 Summilux ASPH I just traded towards it in all ways, though I still love the 50 Summilux.

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LENSRENTALS.COM TESTED THE TOP 50’s, and here is what they found..more HERE. The 50 APO beats the others..OTUS, SIGMA ART and more..so no, the Sigma or Otus or any other 50 does not technically match the smallest of them all, the 50 APO.

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Leica has a way of making you want ALL of their lenses. If I had 10 million in the bank I’d buy them all, and just put them in a shelf/case to use when I wanted. But as it is, I will be happy with my 28/50 and eventually my 90 cron when I can get it.

I know of over 10 who own this 50 APO and all of them love it and say its a lifetime keeper. Many prefer it to the Noctilux as the Noct look is magical but must be used sparingly otherwise your images start looking the same and you may start relying on the 50 Noct bokeh to make your images stand out (many do this). I feel shooting a lens like a 50 f/2, any version, will make you think about composition more than a Noct as with the Noct your main effect is blowing out anything but your subject. While it is a cool effect, once you shoot it daily for 2 weeks you will tire of that look. With a lens like this, the 50 APO, that will never happen. This is a legend already. A classic even today just a few years after its release. There is today, no 50mm like the 50 APO from Leica. Many may claim there is, or that their 50 can do the same but they really have no clue as you can’t until you use it. Put this lens in the hands of someone who can do magic with it and it will create magic.

if you have the cash and want a special 50mm for your M or SL, I’d go for the 50 APO hands down. If you do not have the cash, the 50 Lux, old 50 Cron or even the Zeiss 50 Planar can do the trick. All three of those have completely different rendering and I know a couple people who own them all and use them all. The 50 APO is about having the best 50 ever made, and I agree that it most certainly is the best 50 ever made so far. Yes, better than the big DSLR Zeiss Otus.

CLICK the images for larger and better!

The 50 APO is like going from full HD 1080 to 4K

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Quick Test By Request: The 50 APO on the SL and A7RII…

Sure, you can use the 50 APO on the Sony A7s and A7SII and get results up there with using it on a Leica. On the A7RII though the edges softness is there when shooting an image that would require sharp corner to corner performance such as a landscape at infinity. On the A7RII I’d take the Sony/Zeiss 55 1.8 over the 50 APO as you may get better results in most areas. 

Many asked me to do this comparison, so here it is. One landscape, and a couple of more normal shots.

Take a look below at two landscape style shots that I snapped. One with the SL and 50 APO and one with the A7RII and 50 APO. NO, these are not scientific as I do not do that for so many reasons. These are basically shots where I put the APO on one camera, aimed and shot and then did the same with the other. I was only testing here for soft edges, to see if it was an issue on the A7RII with the 50 APO. I’d love to see something from Sony like an A9 PRO that steps up the build, adds weather sealing, provides an EVF like the one in the SL and offers perfect performance for M glass, as the A7 series could be an amazing platform for M glass. They are almost there..and I feel like they will release a PRO body soon that aims at the SL. Just a hunch.

OK, here are the two quick shots. Take it for what it is. A shot with each camera using the same lens, same aperture. 

YOU HAVE TO CLICK THEM to see the crops correctly. 

1st up the Leica SL shot. Click it.

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Then the Sony A7RII shot..click it.

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You can see the soft corners on the Sony shot, and this is not a fault of the Sony, it is because this is an M lens adapted to be used on a camera it was not made for. Each generation of Sony A7 (now on Gen 2) improves on the M lens experience. As for now, the SL wins this one when using the 50 APO on each camera.

How about in normal shots?

Now, this is where it gets interesting. When shooting normal day to day shots of poeple, things, and generally shooting anything close in and wide open, you will not see these issues with the Sony and M lenses. Take a look:

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I STILL prefer the SL colors here but you can see the lens is now usable and workable on the Sony as the issues ONLY come into play when you want sharp edge to edge performance like the shots of the landscape above.

Yea, this lens is awesome..BUT…

This lens is a stunner but it’s not something we need to take great shots. Any lens can do that as the skill lies with YOU, not the lens. The lens becomes your paintbrush and yes, having as good of a lens as you can get will make your photos look better, it is up to you what you like in a lens or camera. Many will prefer cheaper alternatives because all lenses have different characteristics but if you want buttery smooth files, bokeh and micro contrast for days..the 50 APO will get you there.

VS the Zeiss 50 Planar f/2

One of the highest rated RF M lenses by Ziess is the 50 Planar f/2 which is an alternative to the old Leica Summicron, and yes, even the APO. While not as sharp, and with busier bokeh and some barrel distortion, the Planar will never match the APO but it will get you 75% there for under $1000. Here is a comparison.

1st Image up top, the 50 APO and SL – MUST click it to see crop.

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And now the Zeiss 50 Planar at f/2. Not nearly as sharp, has some distortion and the Bokeh is more nervous. But even with that, at under $1000 this is a great lens. 

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I will be shooting the 50 APO lens more and more and will be adding more images to this review over the next 3-4 weeks (Already added many new images since posting this a week ago). You can also check out my Leica SL gallery which will also be added to every week with the SL and all kinds of lenses. You can see that page HERE. 

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You can buy this lens at my preferred Leica dealers if you are interetsed:

Ken Hansen – [email protected]  – just e-mail him with any questions!

PopFlash.com – See their website, they will sometimes have great buys on this lens!

B&H Photo – The #1 photo shop in the world!

Amazon – You can find this lens there, even with Prime shipping often.

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HLPHH

PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

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 receive 100-300 emails a DAY). Because of this, I could use 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 diapers..you 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 (250 hours a month, and about $3000 per month).

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 (not the B&H) 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.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, Twitter, or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees nor do I (nor will I ever) charge for reviews, so your donations go a long way to keeping this site loaded with useful content. If you choose to help out, I thank you from the bottom of my heart.


Dec 182015
 

A Taste of the Leica 50 APO Summicron f/2 on the Leica SL

What happens when you take the best 50mm lens ever made and attach it to the latest and greatest from Leica, the SL? Well, I loved the 50 APO on the M and it is just about exactly the same on the SL, but easier to nail focus. I will be doing my long-awaited PART 2 Leica 50 APO review next, and it should be up within 2 weeks (and the way time has been flying by lately, will be in no time)!

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Before that Part 2 review, be sure to read Part 1 HERE and then a companion to that HERE. I also gave a taste of it on the Sony A7s HERE.  Below are four shots from the SL using the 50 APO around my house, in various light while testing it. To see these correctly, you must click on them.

The 50 APO is a stunning piece of glass that offers contrast, color and pop along with details and micro details while never coming across as analytical. In reality it is a masterpiece of design that has went up in price a few times and currently resides at over $8000 retail. The most expensive production 50mm lens in the world, and while ridiculous and obscene the results have a signature that can only come from this lens. I am excited to delve into my part 2 review using the SL.

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Dec 182015
 

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The Sony RX1R Mark II Review

by Steve Huff

If you are interested in the RX1R Mark II I recommend the dealers below 100%:

B&H Photo – Click here to order the camera or see more info on the B&H Page

Amazon – Order via Amazon Prime RIGHT HERE!

Here we are at the last edge of 2015 and about to head into 2016. YES! We are NOW in the future! Remember back in the 80’s? Well, if you are old enough you do..when many TV shows and movies would be set in the future..like 2010 or 2020 and the vision of earth was always full of either flying cars or spaceships or the world was already gone due to nuclear wars. One thing they always tried to predict was technology, and usually it was way over the top. In any case, as we launch into 2016 we have cameras that beat the pants off of cameras that were launched just 2 years ago. Technology is here, and it is good. While not “Buck Rogers” kind of good, this new Sony is beautiful, but I never doubted it would be anything but.

RX1RII – Also some PP work with this one ;) (Blur, Contrast, Smudge)

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Yep, but back in the day we would shoot film. Remember the cheap disc film or the 110 film? AWFUL quality but those cameras and film were had for cheap, and they fit in your pockets ;) Today top end cutting edge digital cameras are made for professionals, enthusiasts and serious hobbyists. They have to be as these things are costing more than they ever have it seems. A Leica SL for $7500 without a lens. A Leica M for $5600, no lens. A Sony A7RII for $3400, no lens. A Leica Q for $4300 which is a single fixed lens camera, and now this…ladies and gentleman…I give you the long-awaited…

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Enter the new Sony RX1R Mark II

When the original RX1 was released it quickly became my #1 favorite go to camera for SO MANY reasons. I put up with its faults simply due to the fact that it gave me the best image quality I have seen up until that point. Rich, creamy, full of life, detailed, sharp, gobs of micro contrast, nice bokeh and an overall character that approached the look of Medium Format. It was the 1st 35mm full frame digital that I felt this way about and it even beat out my then previous 3 year love affair, the Leica M9. I suggest reading or refreshing with that old review HERE to see the main character and feature set of the RX1R II as it is mainly the same as the old version with a host of new features, all of which I will talk about here.

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Somehow Sony created a 35mm full frame camera in that original RX1 as it gave and produced output VERY much like Medium Format but less sterile, as in, it was almost perfect but still had plenty of character. This was my view on it and it quickly became my all around take everywhere camera. After the RX1R (R stands for RESOLUTION as it had No Low Pass filter) was announced and I reviewed it, I then fell in love again even though the camera was the same, just without an AA/Low Pass filter for even MORE detail. It boosted the RX1 up a bit with more of everything that made it great.

Click this for a larger and detailed version of this. The file quality is amazing with this camera!

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Unfortunately it (The RX1R) also kept all of the things that frustrated most about the camera..AF speed was dog slow and the lens looked like a 90 lb weakling trying to push 300lbs. It was slow but most who loved the RX1 and RX1R loved it for what it rewarded their patience with. Some of the most beautiful IQ ever seen in 35mm. The original has sort of collected a cult like status with users who own them vowing to NEVER give it up.

All three image below are from the new RX1R Mark II. Click them to see them correctly.

Kurt Kamka – Lunch Meeting in Phx AZ

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My son Brandon sleeping in until noon..

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My beautiful Debby once again helping me test cameras ;) 

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Then there was the Q

In mid 2015 Leica announced and released the Q, which is a camera that aimed directly at the Sony RX1 and RX1R. It is sort of small (though the Sony is quite a bit smaller) has a 28mm f/1.7 lens instead of a 35 f/2 like the Sony and well, it is a Leica. It has the red dot and all and is assembled in Germany. Coming in at $4300 which is $1000 more than the Sony, many felt it would be a Sony killer, and to be honest, it was. It took on the original RX1 and upped the ante with a BUILT in damn good EVF of which the RX1 lacked. It also has a touch screen, a beautiful LCD and has VERY fast AF. It’s a snappy all in one camera that also manages CRAZY GOOD IQ. Now, I do not feel the IQ can match the medium format look of the Sony but it is up there with the best there is in 35mm.

Overall, the Q beat out the old Sony and many were quick to fork over $4300 for the Q, and many still are. It’s one of Leica’s more popular digital cameras of the last 3 years or so. The 24MP sensor in the Q is stunning, so much so that they use it in the new top end SL that comes in at $7,500 (and won my Camera of the Year for 2015, see my review HERE). You can read my Leica Q review HERE.

So how would Sony answer Leica’s RX1 clone, the Q? And would it beat it?

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Enter the Sony RX1R Mark II!

It’s HEEEEERRRREEE and BOY, were MANY waiting for it. This camera has made my  inbox explode more than any other camera in recent memory. Most of you know I am a HUGE fan of the original RX1. I consider it a legend already due to the IQ alone. Now that we have the Mark II version with a FEW new things, it’s closer to perfect that it has ever been, and for me, this new R2 beats the Q. This will not be a huge LONG review as this at its core is still an RX1. Same body design, same feel, same lens, same controls, etc. So this review will focus on real world use while sharing thoughts and images from my 3 weeks with the camera that I have had the pleasure of shooting for the past few weeks.

All images in this review should be clicked on so you are seeing the correct version

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The RX1RII and its 42 MP sensor deliver “delicate detail”. It’s never analytical in its rendering but instead it offers what I like to call an ‘Organic Flow” to the rendering. For example, in the boring image below look at the screws, the web, the areas between what IS and what is NOT in focus. It’s falloff is fantastic and that is thanks to the Zeiss 35 f/2. This is a powerful camera that fits in my coat. Wow.

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Color & Light

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Click on this one to see the beauty in the rendering. 

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Lovely Blues from the Sony Sensor…

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Sony did not rest and now RX1R Mark II is here. That’s a mouthful, so I will call it the R2 from now on this this review. 

The new RX1R 2 looks the same, feels the same and yes, even smells the same as the original RX1 and RX1R. Upon closer inspection you will see the built in flash has been removed (not many used the flash, including me as this kind of camera does not need a flash) and now we have a very nice and sleek built in EVF that at first glance looks like an afterthought but in reality is a very nice powerful EVF, slightly improved from the A7RII!

So we now have the camera with a built-in EVF and most importantly faster auto focus which was the main #1 complaint on the original RX1 from those who used it or owned it. The new R2 has 30% faster AF, and I believe it as it is much much snappier than the old one, and even competes head to head with the Leica Q in AF speed. Also, I had no AF issues with the camera.

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So what is new in the new R2? All of the below!

  • New backlit 42MP full frame sensor. Yes, the same sensor as the A7RII!
  • New built-in and pop up EVF that is slightly better  than the A7RII EVF!
  • The new Af is 30% faster than the old RX1 series. This is evident as soon as you use it. 399 Phase Detect Points.
  • Swivel LCD screen this time around
  • Adjustable or Defeat-able Low Pass/AA filter! This is now an RX1 and RX1R in one body!
  • Eye AF now in this model
  • WiFi and NFC inside
  • Uncompressed 14 Bit RAW
  • Multiple Aspect Ratio Support
  • Smart Zoom to crop in camera without losing quality..use this with Macro mode ;)

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The Sony RX1RII uses the same battery system as the old RX1 and RX100 line. It is one of the weaknesses of the camera so be sure to invest in 2-3 more batteries (you can get generic versions VERY cheap) to get you through the week.

The more I shot with the RX1R2 the more I was falling in love again, just as I did with the original. But at the same time, I have shot with the competition, THE competition that copied Sony and made a better camera than the old RX1 (Mark I). That would be the Leica Q.

The Leica Q vs the RX1RII

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While the mighty Q beat the old RX1 and RX1R in just about every way, how will the Q stack up against the latest and greatest from Sony? With this top of the heap technically advanced 42MP backlit sensor, how could the Q compete? Well, lets take a look..but 1st, see my video on the RX1R II vs the Leica Q:

NOTE: I incorrectly spoke at one point with the Leica Q in this video. I said it will stop down the lens automatically when closer than 1M. I was thinking of the X. The Q does not do this but will stop down when in Macro mode. 

So at the end of the day, for me, I prefer the new Sony but it’s VERY close. My main reason? The Sony is $1000 less expensive and gives me slightly superior IQ, or at least “different IQ”, and is smaller..and I prefer 35mm to 28mm… though I have no issue with the size of the Q. But do not take my word for it, let’s see some comparisons. Who knows, you may prefer the Q!

Away we go…

1st up. ISO

Let’s get this one out-of-the-way 1st. High ISO. Let’s face it, below these high ISO’s both cameras are comparable, but how do they stack up at 50,000 ISO? Let’s see…

Sony RX1RII – RAW – ISO 50k  – MUST CLICK IMAGE!

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LEICA Q – ISO 50K – RAW – MUST CLICK IMAGE!

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Sony wins, the Leica has banding at its max ISO, and Sony still has steam pushing along to ISO 102,000..Sony Wins the ISO here.

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Portrait? These are all good IMO. One is from the Leica Q, one from the RX12 and one from the Leica SL with 50 APO (which is easy to spot). Can you spot which is which? EXIF info is in the photos..

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Same shot. The 1st one is the RX1R 2 as you can tell from the longer focal length of 35mm over the Q’s 28mm. 

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Sony is handling the color better so far…also, bokeh effect will be more pronounced on the Sony due to the longer focal length.

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Boots…1st up, Sony

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Leica Q

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1st, Sony

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Leica

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Coming in at $4300, the Q is expensive but hey, it’s a Leica. People love the idea of Leica and when they released the Q, and it exceeded expectations, well, the old RX1 kind of became forgotten. It was much slower than the Q and was dated in comparison. As you can see above the Sony delivers the goods. Some will prefer the Sony rendering, others the Leica. There is no wrong choice here but for me, the RX1R II delivers the goods in a bigger way while being smaller and less expensive by a grand.

Now there are areas of the Q that beat the Sony. For example:

  1. The Q has a 1/16,000 shutter speed so you can shoot wide open in full sun, Sony does not
  2. The Q is a bit snappier to AF but only by a little
  3. The Q menu is simpler than Sony’s
  4. The battery life is better on the Q
  5. The Q has a touch screen, not on the Sony.

With that out of the way, the Sony has some things to like over the Q…

  1. Latest sensor tech with the 42MP Backlit sensor from the A7RII Flagship delivers stunning results
  2. Swivel LCD which is NOT on the Leica
  3. Smaller size, can indeed fit in a coat pocket, Leica Q can not
  4. Better high ISO performance means better night time shooting
  5. files have more of a medium format look over the Q’s harder look
  6. More dynamic range from the Sony
  7. $1000 Less expensive than the Q
  8. You can turn on or off or adjust the AA filter. Want to avoid MOIRE? turn it ON. Want max detail, turn it OFF!

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What I tell everyone when they ask “Which should I get” I say “go with what you feel would make you the happiest and don’t look back”. There is no perfect camera but they are getting mighty close these days! The new Sony RX1RII is a stunning machine with power that you would never think could come from a camera this small. I had people looking at some of my sample shots telling me “did you use the Pentax 645”?!? It’s something that Sony is doing these days but the images that come from their latest cameras do indeed have a medium format feel to them.

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And the black and White conversions can be stunning!

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The Details…

Remember, this guy packs the 42 Megapixel sensor of the top of the heap FLAGSHIP Sony A7RII (See review HERE). That is FORTY TWO MILLION pixels in your coat pocket! That is the draw to this camera, not “Which one is better”. This is the smallest full frame camera you can buy as far as I know, and according to Sony, it offers the best IQ of any camera they currently produce. This is the top of the heap for IQ when it comes to Sony full frame. At the same time, it is not the best for video, and even Sony will tell you this. This camera was designed for the enthusiast and passionate shooter who wants a no compromise camera  – one they can shoot day, night or anywhere in between all the while getting top of the line quality that will beat just about any full frame camera around well past its price point.

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The camera also has an adjustable AA filter meaning if you want MAX RESOLUTION turn it OFF and you have an RX1RII. Turn it on and you have an RX1II. Adjust it and you can customize it to your needs. Me, I left it OFF at all times as I am ANTI AA filter. I RARELY EVER have Moire issues, so always leave it off.

But let’s see some shots with 100% crops to check details…

These bricks…this is a JPEG but click it to see the full 100% crop

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Again…

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…and again…

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OOC JPEG

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…you get the drift…

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corner to corner this camera is sharp..this is an OOC JPEG

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Any reports you may have heard about the Sony RX1RII’s image quality not being as stellar is it was hyped up to be..well, not sure what to make of those (must have had a stinker) as I think the camera is as good as it gets in this class of camera. It bests the old model easily in speed, usability, and image quality. It’s more versatile with the nice pop up EVF and delivers a fantastic experience. In all other ways it is the same as the 1st version. Same menu system, same size, same style, same lens, etc. So there is nothing to report on there.

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I did hear something about Sony stopping production for a few weeks but I have not confirmed this nor do I know what it is about (I do not go by rumors or “he said/she said”). If this is the case, and fact, then the issue is not in my camera that I have here. 


-For me, my three full frame references are the Leica SL, Sony RX1RII and the Sony A7RII. To me, these are as good as it gets in 2015, heading into 2016 for cameras that deliver the goods. Expensive? Yes, very. Worth it? Only you can answer that one.

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Is the Sony RX1R II for you? Maybe..maybe not! My Final Word.

Think about it like this. The Sony RX1R II is like having an A7RII and 35 Loxia with AF in your coat pocket. Tiny, small, but uber powerful. There is nothing not to like on the Sony RX1RII. It’s beautiful in build, feel, and the EVF is fanatstic, even besting the one in the A7RII and it easily hides away when you do not want it. It delivers the best IQ of the Sony line due to the matched lens to sensor (which I talk about in my original RX1 Review HERE). It’s as good as it gets in an all in one, with the Leica Q right on its heels.

I love this camera as I loved the original, and it has earned a place at the top of my “keeper heap” in the Huff Household.

But I have many cameras. Many here will be using this as their one and only camera, so if this is the case I would say to make sure you are OK with only shooting 35mm as that is all you will get. There is no zoom on this guy, but that is the beauty of it. In many ways, using only the 35mm focal length for a year can greatly improve your photography, so for many this could be a welcome change from those big huge DSLR’s.

If you like what you see here from the camera then you will love it when it is in your hands. It’s a superb upgrade to the Mark 1 and while not a huge revelation when compared to the old one, it is a very nice step in the right direction for this series.

One more detail shot using an OOC JPEG! Click it for the larger version with 100% crop.

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Where to Buy?

If you are interested in the RX1R Mark II I recommend the dealers below 100%:

B&H Photo – Click here to order the camera or see more info on the B&H Page

Amazon – Order via Amazon Prime RIGHT HERE!

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HLPHH

PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

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 receive 100-300 emails a DAY). Because of this, I could use 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 diapers..you 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 (250 hours a month, and about $3000 per month).

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 (not the B&H) 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.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, Twitter, or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees nor do I (nor will I ever) charge for reviews, so your donations go a long way to keeping this site loaded with useful content. If you choose to help out, I thank you from the bottom of my heart.

Dec 142015
 

Do not Pay $5800 for a Leica Q..in stock at normal price now.

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I was on Amazon and saw a retailer (Electronics Basket) selling the Leica Q for $5,866. This is about $1600 over list price. This is ridiculous as you can buy an M-P for that kind of money, and a Q is no M! I have seen retailers price gouge so many times on popular cameras but am here to tell you to NOT buy these $5800 Q’s ;) I JUST CONFIRMED MINUTES AGO with Leica dealer Ken Hansen that he has a few Q IN STOCK. You can e-mail him and ask him HERE.

If you do buy one of these inflated price Q’s, be prepared to lose massive value as soon as your battery is inserted. When these are being sold used, right now because they are in demand they are going for close to $4000.

PopFlash.com gets them from time to  time as well and their Q page is HERE. Leica Store Miami also gets them in from time to time HERE, and all of these dealers will sell you a Q for the correct price. B&H Photo also sells the Q, and when in stock you will pay the correct price.

But as I said, Ken Hansen has the Q in stock right now, at the normal price ;) Email him at [email protected]

Dec 042015
 

The Importance of candid shooting

by Dirk De Paepe

Social Media (Loxia 2/50 Planar: f/13, 1/500, ISO400)

01. Social media

Street shooting is without any doubt one of our most compelling disciplines, because it represents the pinnacle of photography’s greatest forte: catching and copying moment’s out of real life and freezing them into lasting images. Only photography can perform this and it does it in a way that our first impression automatically is, that we’re looking at a faithful scene out of reality (although we all know about so many possible tricks – which BTW are not performed in the pictures that go with this article). Every experienced street photographer knows that there are moments and viewpoints where so many things fall into place, that they become special and/or typical. That’s why timing is a crucial factor in this creative process.

(Of course, as always, I express my personal vision in this article, but I believe that it’s only in the exchange of different visions that we can further develop. So you are very welcome to comment from a different point of view.)

Sharing (Loxia 2/35 Biogon: f/13, 1/320s, ISO1600)

02. Sharing

The most important subject in street shooting is people. And thus the comparison with portraiture, both posed and unposed, is obvious. I believe a posed portrait mainly must show a person in the way that he/she wants to be shown. The acting skills of the portrayed person play a big role herein, as well as the communicating skills of the photographer. The key idea is: “this is the image of myself that I want to show”. Because such a picture is all about this one person’s specific personality (or the personality that one wants to show), he/she should be in control of the impression he/she makes on the spectator, or the photographer needs to put him/her that much at easy that he/she acts natural. (Of course this domain is bigger, but this is the essence of it. Working with a professional model for instance won’t necessarily have the model’s personality as the subject of the picture.) I’d like to make a comparison with colors now. One could say that this kind of portraiture (posed portraiture, that is) represents one color of the spectrum, say green. Of course there’s an infinite amount of nuances in green and green is a very interesting color indeed, but still, they are all green and there are still so many other colors! That’s why I believe that unposed shooting of people can show so many more aspects of humanity, of typical human behavior, and therefore I believe it to be much more interesting than posed portraiture.

City traffic (Loxia 2/35 Biogon: f/13, 1/200sec, ISO 1600)

03. City traffic

The importance of unposed shooting, which can only be done candid, doesn’t lie in showing the true being and the true character of one specific person, as many still believe. Because the candid photographer (generally) doesn’t know his target person, there’s no question of portraying this specific person’s identity. Instead he’s rather holding up a mirror and makes us, as spectators, reflect about how we all, as people in general, can act/react in different circumstances. With his candid shots, he’s creating a pallet, as diverse as possible, of the different aspects of humanity. The portrayed persons merely act as representatives of mankind, not as particular individuals. This is the more so, because we only picture one moment out of their whole life, without any added context. The weakness of photography is, that it’s very difficult to tell the whole story in one picture. Therefore documentary photography requires a series of pictures to do the job. But in street shooting, registering those isolated moment also involves a great forte: it stimulates our imagination, having us create our own story around the picture, giving birth to so many interpretations of the same scene. It makes the picture to transcend from this one person and represent mankind.

Lonely (Loxia 2/35 Biogon: f/13 1/1600sec, ISO1600)

04. Lonely

We start to realize (subconsciously) that everybody, ourselves included!, could show that same kind of behavior as the pictured person, in specific circumstances. The more we recognize this behavior within ourselves, the more we realize that all humans are pretty much alike. When we realize that everybody can pass through typical or strange or weak or even embarrassing moments, we will more easily accept our own weaknesses and failures and as such also accept other’s imperfections. It can help in being less embarressed about certain defaults we think we have, realizing that everybody has his own defaults. As such this can work liberating, since we’ll be more in peace with ourselves. Once we realize this true purpose of candid shooting – portraying mankind – we will be able to see that it’s not at all about intruding into one specific person’s identity. This is impossible anyway, because the photographer doesn’t know the “model” and both the photographer and spectator don’t know the circumstances that lead to this registered momentarily situation. So the picture can’t possibly show this one person’s true nature. A good street photographer realizes that. He doesn’t want to intrude in one’s soul. Instead his photography is all about revealing the true nature of humanity in general, as said, by exposing how we all can act, given the right circumstances. As such, street photography is a means to increase tolerance amongst people. Candid street shooting is not at all about violating once privacy. Think about it. We take those pictures in plain public, which means that every image has been fully exposed anyhow to all bystanders. No photographer is expected to think that anybody is showing behavior in plain public that he doesn’t want to be shown. Also think about the thousands of safety camera’s that film us and register our behavior on a constant basis – sometimes to be used for much less honorable purposes.

Because of all of this, I believe candid pictures to be the most interesting, when people don’t look into the lens and are not aware that they are being photographed. Looking towards the camera/photographer almost always results in an image, in which the person seams to think: “I’m being photographed!”. I believe that from that moment on, the picture looses his real candid character, almost always withdrawing the portrayed person from his natural behavior, resulting in cramped and uninteresting images. In exceptional cases, it càn deliver beautiful shots though. A minority of people immediately reacts to the camera in an open, welcoming way. Those pictures can really show something valuable of this person’s true nature. They can result in very beautiful “personality portraits”. One could call those shots “Unposed, yet aware portraits”.

Beautiful people (Loxia 2/50 Planar: f/13, 1/800, ISO400)

06. Beautiful people

But no matter how beautiful they can be, it’s still like they all are different shades of blue. Blue is a very beautiful color, with many nuances, and I absolutely wanna use all those blues, but still I prefer to see the whole color spectrum! The situation, and therefore the expression of face and body, is (in average) much more interesting, much more representing the whole of mankind, when there’s no photographer disturbing it. Candid shots show so much clearer all different aspects of human life and behavior. The majority of people only look natural, when the shot was taken fully candid. That’s why the great street photographers often preferred a Leica M camera over a big SLR, so they could shoot in a more discrete way. Today we see a lot of Sony A7x bodies go along the Leica’s, together with a range of Micro 4/3’s and APSC’s. I like to pair my A7r with the Zeiss Loxia lenses, that I find simply perfect for street shooting, regarding size, performance and IQ. From time to time, I will add the Canon FD 85mm f/1.2 or Jupiter 9 (85mm as well) to the lot. (I’m really looking forward to the Loxia 85 or 90mm to come, for that matter.)

Severe facades (Loxia 2/50 Planar: f/11, 1/250sec, ISO400)

07. Severe facades

All pictures posted here, were shot in Antwerp, my favorite city, in a span of a few hours time. I chose to post only shots from that particular shoot, just show that there is a lot to notice in a short time. Although most street photographers shoot or publish in B&W, I decided to keep all shots in color. It’s how I think at this moment. I agree, B&W emphasizes on the essence of the act, still I believe that the colors can really contribute to the street feeling and to the atmosphere of a country, a region, a city. Where I live, in Belgium, real life colors are more grey and murky than for instance in Spain, let alone in Africa. They are less brilliant and saturated. So in the color balance I pursued grays to be really gray and not to overdo the colors, although with the modern cameras and post production software, it’s so very easy and tempting to do so. Still, I’m not proclaiming to produce perfectly faithful colors. Instead I tried to make them contribute to the general feeling that I got from the place, as such contributing to feeling that I got when observing the pictured people.

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08. Pedestrian zone

But more than the color treatment, it’s the people themselves that play the central role in those pics. Some absolutely didn’t know that I was shooting and act absolutely natural. Some noticed me but didn’t change their expression a single bit. Some reacted enthusiastic and opened up. A single one showed a bit of an annoyance. But after all, I experienced no real reluctance with any of them. And in all of them I noticed enough typical human behavior to show those pictures to you.

Hasty (Loxia 2/35 Biogon: f/13, 1/800sec, ISO1600)

09. Hasty

Finally, aside the catching of the moment, I also try to take care of the composition. That means that I try to integrate the surroundings in a meaningful way. I have my personal insights on arranging the subjects and objects in a picture, but this would take me too far to elaborate about this in this article. But I can say that, while shooting, this is done with a sense of balance and a “load of rules” that have become more or less natural to me. The fine tuning is done in post of course. Often I think in square images when shooting, which shows. Integrating the surroundings in the composition requires a larger depth of field, which I achieve by zone focusing. The Loxia’s are fantastic lenses for that kind of work. Like I wrote in my reviews about them, published on this site, they can produce tremendous detail on all plans, even when hyperfocusing. And zone focusing is a fantastic technique for street shooting, since there is zero focusing time required, thus offering the fastest way to react to any situation, faster than any AF system. Finally, using a hi-res sensor together with those state-of-the-art lenses, gives you quite some cropping power, which sometimes can be interesting when you caught an interesting moment’s event at some distance.

Wretched (Loxia 2/35 Biogon: f/13, 1/400sec, ISO1600)

10. Wretched

Please, as always, click on the pictures to see them in bigger format with better IQ, and go to my flickr page to see them in full size, with the Exif data included. You’ll find them, and more, in a dedicated album, named “In the streets of Antwerp” .

I hope you enjoyed the images. Thanks for reading and watching and, as always, special thanks to Steve and Brandon for keeping on publishing this great site.

Nov 302015
 
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The Leica SL (type 601) Camera Review. My Camera of the Year 2015!

By Steve Huff

(NOTE: You must click on the images in this review to see them how they were meant to be seen. If not they will appear soft and dull)

So here I am, another year older and another year of some amazing camera’s that have come through the Huff Household. I can not believe I am now 46 years old! Seems like yesterday when I started this website but I was 38 going on 39. Time flies when you really enjoy life, love what you do, and live as happy as you possibly can. I believe in loving every moment of life, avoiding negativity and being a nice person to all. Usually when I am about to write a new Leica review I get a bit tense as many HATE the Leica brand simply due to the cost of their cameras and this means that just by me being honest in this review, there will be Leica hate comments coming in.

Leica is a brand that is understood by some, and misunderstood by many. Whatever the dialogue here one can not take away the fact that Leica has created, for me at least, the best digital camera I have ever used, owned or tested. THAT is a HUGE claim, I know…and as much as I love and adore and use my Sony A7RII, the SL beats it out for what it offers, and yes, the quality of the images and the camera itself.

Also, since the Leica SL comes in at $7500, this review will be a 7500 word review with over 75 images ;) Not quite the over 10,000 words of my Leica M 240 review from over 2 years ago but close enough!

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It was a hard choice as to which camera would make my “Camera of the Year 2015” as the amazing Sony A7RII had it in the bag a few weeks ago. Then this SL hit me and surprised me with an amazing overall user experience, which is VERY important when using a camera. It’s the main reason I do not give the Sigma DP series much love here as the user experience is awful with those cameras even though the IQ is incredibly good. I prefer a camera that looks great, is built to a high standard, is easy to use, reliable, fast and has amazing image quality. While the Sony A7RII has all of this, the Leica has a little more, and even though its more than 2X the cost of the Sony, you can really tell this when shooting with it so it’s not just an inflated price for a red dot sticker. If someone tells you it is they either have never touched the SL or are lying or had no idea how to use it (as it will take a few days to learn the controls).

The build alone will tell you this is a serious camera.

One of my 1st test shots with the Leica SL and 24-90 Zoom. My beautiful Debby ;) 

CLICK IT TO SEE IT CORRECTLY!

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But the SL is TOO expensive you say?

Yes, Leica is expensive… but so what, they always have been, nothing new here so everyone reading this knows the Leica pricing structure, so it should come as no surprise. Rolex makes an expensive watch. Porsche and Rolls Royce make expensive cars, and those who go to buy them know this. Some poeple live in million dollar homes while others live in modest $79,000 homes (what my home cost in 2010). That is the beauty of life..we have choices and can live our life the way that makes us the most happy, depending on our life situation and budget. If someone has loads of cash then Leica is not expensive to them. If someone has little cash, Leica seems ridiculous in their pricing. Either way, there is no denying they make beautiful cameras and lenses and with the SL I feel they created a whole new class of Mirrorless Camera, one of the best, if not THE best mirrorless body on the market, period (for mirrorless). Sure, only one native lens so far but more will come, and using M glass has never been more enjoyable. This camera is much more than just for the rich..see, I am not rich but I am happy and feel lucky and blessed to own one.

My 1st look video I did when the Leica SL 1st arrived. My excitement is still here after much use.

 

So enjoy this real world review of the new Leica SL and try to keep negativity and hate away as we are not learning anything new here…Leica is an expensive brand, but as with many things that cost more than the competition, sometimes you actually do get what you pay for. Sometimes. 

My “Movember” Selfie with the SL and 24-90 at 24mm

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The crisp files and rich color make the SL files POP. Click this and marvel at the crispness of it…

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In the case of the SL, this is true as you do get what you pay for indeed. The SL is not like I originally thought…as in, it is NOT a Sony A7 copycat. Instead, it is like a whole new class of camera that for me, even outshines any DSLR or mirrorless camera in construction, feel, EVF, and when shooting…the SL gives you an amazing feeling..it’s one of the very few cameras I have “bonded” with in life. Using M lenses on the SL is a dream as the EVF is mind blowing good and the best EVF made to date, from any manufacturer…and yes, you can quote me on that one. Nothing like it exists in 2015 but I am sure the SL will force others to create better EVF tech in their bodies. The EVF is not hype or a myth, it really is as good as everyone is saying it is. Another class, league and when I go back to my other cameras I immediately notice the massive drop in EVF quality. That’s how much Leica has upped the EVF game with the SL.

The Zeiss 50 Sonnar C ZM on the SL. Gorgeous.

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Strange that Leica was the one to build a better EVF as they rarely innovate. This time they did in more ways than one! Good for them.

Low light with only ambient bar lighting here yet this OOC JPEG looks great (click it) and color is rich and deep. The AWB did great here considering the challenging conditions. Yes, all of that yellow was there but this is an OOC jpeg with boosted colors so the yellow and red jump out. 

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When the SL was announced and I saw the A7 like body style and the price  tag of $7500 I assumed Leica partnered with Panasonic to create an A7 copycat and were trying to charge a premium for it. When I received one for loan to review I quickly ate those words as the SL is on another planet for the way it was designed and how it works. This true made in Germany Leica feels like a precision camera..a tool that inspires confidence and one that makes you feel like you WANT to get the shots when using it. Many cameras fall short of this but Leica has a history of being amazing with it due to their cameras simplicity and basic nature. BTW, for those spreading false rumors out there..this is not a panasonic, this is a true Leica.

The SL is in reality, more like a Mini S Type camera. You know, the insane crazy expensive camera with a medium format sensor that went for $22,000 not too long ago? Shrink an S camera, make it sleeker with the same level of build (even higher IMO with the SL) and you have the 35mm full frame SL with the 24 MP sensor from the Q (tweaked for the SL), which is an outstanding sensor much improved over what is in the M 240. The color and detail is so so good here, best I have seen from digital Leica. BTW, the Q sensor here has been “tweaked” for the SL.

So Red the Rose, Leica SL and Leica 50 APO

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Blue Pop – Leica SL and 50 APO

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But do know that this is in no way a small pocketable camera. It is larger than the A7 series, the M and while thinner and sleeker than any DSLR, it is still large when using the 24-90 zoom lens. Thrown on an M lens and it is compact, and feels perfect. In no way does it resemble a DSLR with an M lens as it is thin and tall where DSLR’s are short and squat and feel like a hunk of plastic usually. But use the 24-90 and it will get large if you are used to small cameras. With the zoom, it’s DSLR like in size and weight.

1st image below with the 50 Summilux at 1.4, 2nd image with the 50 lux at f/2

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Leica’s have Character

Leica’s have a way of giving you back beautiful and at times moody photos. That “Leica Look” as many call it…well, I call it “life photos”. It usually is a by product of the lenses as Leica makes some serious lenses with some serious IQ and pop/character. The new 24-90 f/2.8-f/4 zoom, while huge and massive, is the best zoom lens I have ever used from any manufacturer, without question, period. Now of course I have not used every zoom lens ever made, but have used quite a few. The 24-90 renders like a beautiful Leica prime and has the most amazing colors and details I have seen from any zoom at any price. It’s the only Zoom I have ever used that makes me WANT to use it and want own it!

WOWZERS! THIS 24-90 Zoom is INCREDIBLE. The 1st zoom ever that makes me want to use it (and own it)

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Is it expensive? YES, crazy expensive but if you have the cash, and want the best standard zoom around, the 24-90 f/2.8-f/4 will not disappoint. I call it like I see it and while I have never liked Zoom’s..I love this one. I did not originally order it but was able to buy this one that was sent to me. It is that good..yep… Steve Huff bought a Zoom Lens, and a crazy expensive one at that (that required me selling other things to afford it). That says A LOT as I usually avoid zooms like the plague but this new Leica has swayed me with its beauty, solid build, semi light weight and incredible performance across its range plus you get an extra 20mm compared to a Nikon or Canon or Zeiss 24-70 ;)

Both images below with the fantastic Leica 24-90 Zoom. Click them for better view.

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You do not have to like the SL, but you should respect it.

I see many bashing the SL camera on forums without seeing one, using one or even testing one. Same old thing that the Leica haters (or any camera brand hater who defends their brand) do every time a new major release is out. Hell, I was not being so nice to the SL the day it was announced but I had the same impression many got after seeing images and specs. After it arrived to me, I fell in love with the SL and admit I was wrong in my initial thoughts, in every way and I am happy to admit I was wrong. 

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The fact is that after using the SL I would choose it over the M 240 these days due to the great feel and build, the sensor, the EVF and the joy of using M glass on the camera (Until the next M of course). In fact, I ordered my own SL and 24-90, which is so out of my character but once I shot this camera and lens, I knew I had to have it. I was spoiled. I will use it from time to time but am most excited about shooting M glass with the SL. The 50 Lux is gorgeous here and no, the lens does not look to small for the camera as the camera is not that much larger than an M 240! Really!

Two more lenses planned for 2016. The 50 1.4 Summilux and the 90-280

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But yes, I prefer this SL  to the M 240. How crazy is THAT? I am a hardcore M lover so for a camera to sway me from the M means it has to be special and the SL is. It’s also comforting to know there is no rangefinder mechanism to drift out of alignment every few months to a year, so using M glass means you will never have to wonder if your images will be in sharp focus.

50 Lux ASPH in action on the SL (click the images for much nicer looking images)

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So let’s get to it… what is this SL? Who is it for?

The Leica SL, according to Leica, takes aim at Canon and Nikon PRO users. Yes, an impossible task, and even I will say that they will never get market share from Nikon or Canon. Not enough Native lenses (only one so far) and well, it’s not CANON or NIKON. Even so, the SL will have a place for many enthusiasts and pros anyway, and Leica never intends to sell Canon or Nikon numbers. The bottom line is, many will buy an SL from Pros to Enthusiasts to Leica lovers. It’s not just for pro shooters, it is for any passionate photographer who enjoys the craft, respects the craft and wants a VERY solid, amazing feeling and performing camera. I see Wedding Pros using the SL and feel that is where it will spread around as it is the perfect wedding or portrait camera.


Leica has the Q for hobbyists and enthusiasts (see my Review here), they have the M for rangefinder lovers (My huge review HERE) and they have the T (review here),  and the X (review here) or even the D-Lux and others for those who want smaller more compact Leica’s. The SL is for the Pro or the one who wants the best made body in existence for mirrorless, best EVF with a killer sensor that delivers amazing color and richness to the files. It supposedly offers fantastic video (even 4K but I do not test the video as I am not a video guy) as well and with the ability to use M lenses, R lenses, T lenses or even S lenses in addition to the new SL lenses…

…well, we now have the ULTIMATE Leica camera for the true Leica aficionado. The SL does it all “LEICA”, and it does it with ease and a very mature “flow”.

In all honesty, it is responsible for lifting me out of a “funk” I was in with my shooting as it is very inspiring and it just makes you want to go out and shoot. It is a very inspiring tool.

TOP: Leica 50 Summilux ASPH. Bottom, Leica 24-90 at 90. Both fantastic lenses on the SL.

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Glitch Free SL

This time around the new out of the box Leica is not glitchy nor has my SL frozen or gotten stuck. I have not had to remove the battery for a reset … no issues at all, and the camera as a whole has been stellar in every way. In the old days, new major Leica releases would be buggy or need fixes right out of the gate (M8, M9, etc). This time, I think they nailed it. The IQ is so so nice and for me, slightly edges out my previous reference, the A7RII for depth and color. But tastes vary and this could go either way depending on your preferences. The Sony A7RII has BEAUTIFUL Image Quality. The SL has just as beautiful IQ but it is slightly different as it will offer a different color signature and character.

Want to see these images how they were meant to be seen? CLICK THEM :) All 50 lux here…

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I say “edges out” because it is slight. For me, I prefer the Leica color character and the biting detail at the focus point. I like the way M lenses work on the SL as using that HUGE bright and crystal clear EVF makes manually focusing and framing a breeze (I can not stress this point enough, the EVF is fantastic). As far as technical IQ, the Sony edges out the SL with more resolution due to its 42MP sensor vs the 24 of the SL. The Sony also has tons more lenses that can be used on it, so paying a little more than double for the SL for someone trying to decide between Sony and Leica will be a tough choice, as the Sony A7RII is a lot of camera for the money and for many, the best choice because of this.

The Leica SL is the appropriate camera for the money as in it is not overpriced for what you are getting. In other words, if you have the extra cash you will not regret the Leica IF YOU HAVE M lenses to use for it as there is only one native lens for it at launch. But a fine lens it is, one of Leica best.

Next shot also with the Leica 50 Summilux ASPH 

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My 1st use with an M lens

When I unboxed the SL, held it and shot with it… and after using M mount lenses with it I knew I had to buy it for myself. It’s a special thing and Leica may just be starting to “get it” and while many enthusiasts see this cameras as an overpriced body that has less features and specs than competitors at half the price, Leica knows they have a quality camera here and one that offers the most “pride of ownership” I have seen in a camera, ever. So I think the SL will take off as much as it can and IMO, it should sell better than even the M 240 because it offers so much more while still retaining that Leica feel and experience.

The Leica 50 APO on the SL 

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Yes, you get WAY more than the M for your money in build, specs, IQ, features and versatility.

I take this out every day with a 50 Lux and its light and not large on me. Those who have seen it, they all say the same thing “That is much smaller than I thought” as many have the impression it’s giant sized. Well, it’s smaller than a Nikon D810, D4 or Canon 5DIII or 1d series. Its much thinner and feels like a solid block of metal while not feeling like it weighs like a solid block of metal. It makes the other “pro” bodies feel not so pro anymore, and I am 100% serious and honest when I say this. It’s not that much larger than an A7RII, though it is bigger without question. Use it with M lenses and its never heavy or a burden. Throw the 24-90 on and it can get to be heavy after a little while.

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While Leica may or may not sell a bunch of these, they did in fact create a camera that anyone would be proud to own and shoot, and once a few start giving it a go, I think word will spread about how special the SL really is in all areas.

1st shot with the 24-90 (added a VSCO filter to this one, so grain is there from the filter) – 2nd shot to test sharpness of the 50 Summilux M at 1.4 while indoors. Third image with the 24-90.

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So How does it Perform? Let’s Get to the Tests…

Shoot RAW! Details..

The SL performs to a level (or above) that is right at the top of the 35mm full frame heap when it comes to Image Qualiy. RAW is best of course as I find the SL to put out VERY contrasty JPEG’s even when the contrast is turned down. So JPEGS are not the best and I recommend shooting RAW 100%. The RAW files are gorgeous and detailed and have a nice natural rendering and color to them. See some images below with 100% crops..plenty of detail to be had here…but a camera is so much more than the detail it can pump out as IQ is only one of many things I look at when I am evaluating a camera…

Click the images for larger view and true 100% crop

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Start Up & That Glorious 4.4MP EVF

When you start up the SL you are ready to shoot, and the 1st time you power it up you will be treated to a nice fancy start up sequence on the LCD. Lift it to your eye and take a look through the 4.4 MP EVF and bask in the hugeness of it… the clarity. It’s like looking through a window. A very clean crystal clear one. Movement is smooth and never ever jagged or rough BUT if you get into really low light it will get a little choppy as with ALL EVF’s made. In daylight it is quite incredible to frame with. In all of my camera review career (7-8 years) I have never experienced a nicer more informational and useful viewfinder. You SEE much better than with an OVF because you have the brightness, clarity and detail of an OVF but you are seeing exactly what you will get when you press that shutter, with a HUGE HUGE view. This embarrasses many EVF’s that are in other cameras, even the A7RII or RX1RII. The diopter control is in the form of a dial around the viewfinder and it is solid and great feeling. Easy to adjust as it is large and natural to adjust.

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Throw on the 24-90 Zoom and you will be treated to quick snappy AF (no lag or hunting that I have noticed unless you are in pretty low light) and gorgeous IQ. Throw on an M lens (Via an adapter, I use the Leica branded T to M) and you will be treated to a really nice manual focus experience. With peaking and the large view it is easy to manually focus (make sure to have peaking on by clicking the lower right button until you see it active). I do not even use the LCD magnification. No need.

Manual Focusing M Lenses

But speaking of magnification for using manual focus lenses, there is one flaw I found with the SL (UPDATE: THIS WAS FIXED IN FIRMWARE VERSION 1.2 RELEASED DECEMBER 2015)!!. There is only ONE WAY To magnify the EVF or LCD when manually focusing, and that is to press the lower left button on the back, which is in a bad spot as no fingers are near it when looking through the EVF!

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Leica’s v1.2 FW update allows the SL to now go in to Manual Focus magnify by pushing in on the back joystick which is right where your thumb lays. PERFECT!!! My ONE flaw was fixed within 2 weeks, way to go Leica! 

This button is not changeable or assignable and it should be as I need a button near a finger so I can activate the magnify if I so desire. Where it is placed now makes it very hard to use, so this needs a firmware fix so you can assign it anywhere. It really does as whoever decided to put the focus magnify there..well…bad move. It needs to be programmable and at the time of this review, it is not.

With that said, manually focusing M lenses is a breeze. With the huge EVF, focus peaking or magnification I did not miss any shots due to missing focus. In fact, I was able to focus M lenses without any MF aids at all just due to the large clear EVF.

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Touch Screen!

Keep shooting and you will soon discover that the SL has a touch screen which can be used for focusing or image preview. The SL has features such as interval shooting (time lapse) and 4K video (as well as 1080P HD) that looks gorgeous. Even the built in mics sound big, rich and full but of course we can add external mics to the SL for those who want pro audio. To date, best internal mics go to SONY, then the SL but whoever is shooting serious video..again, will use a mic anyway.

Look at how clean and nice the back looks? Not 10-15 buttons, loads of small white text and a mish mosh of controls and wheels. Nope, the SL is simplicity at its finest and after an hour or so os use it becomes second nature. Amazing how effective and simple the Leica setup is. All cameras should be like this.

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VIDEO! DOUBLE BUTTON!

BTW, I LOVE the way the video button has been implemented, and feel all manufacturers of cameras should do this. To start shooting video one must press a button to the left of the video start button to activate video mode. If you do not do this, the record button will not record! THIS IS GENIUS as it keeps that button from bring pressed by accident, which happens to many… OFTEN. So another innovation though a simple one from Leica. Brilliant. Double button video ;)

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HIGH ISO on a Leica? Yep..

The new SL has an ISO capability of up to ISO 50,000 and it can be usable at 50k if you do not get banding, which I have gotten in shots from ISO 25K to 50k but not EVERY time. The ISO capability of the SL is quite shocking for a Leica. Gone are the days of ISO 640 max on the M8 and S2 and 1250 on the M9 or even 3200 on the M 240. This guy is giving me beautiful shots even in low light at 12,500. Later on I will do a comparison to the Sony A7RII for high ISO but for now, a couple of higher ISO shots using the SL.

1st shot of my Dog Baby on the bed at night. ISO 12,500, no noise reduction (I never use it and the SL does not use it) – 24-90

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Just some clouds at night at ISO 25,000 ISO – 24-90

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ISO 4000 – 24-90

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Mr. Kurt Kamka with the 24-90 at ISO 12,500

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With the SL, there are no ISO worries. Even at high ISO the detail is there with a nice noise pattern. Man, have we come a long way!

Full Frame but T mount?

The new SL is full frame but uses the T mount. The T camera is APS-C but Leica made it with a mount large enough for full frame. Larger than even the M mount. I guess that they had plans all along :) For this reason, to use M glass on the SL you need the T to M adapter from Leica. This will send info to the camera when using authentic Leica M lenses. This means the SL will adjust for corrections just like the M does. IT’S THE ADAPTER YOU WANT. TRUST ME!

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After shooting with the SL for a while I started to realize that this IS INDEED a very PRO camera, in every way. The file quality is just superb. Rich colors, fantastic AWB performance (best I have used), snappy Auto Focus with the 24-90 and wonderful performance with M lenses, which many of you reading this own. When shooting it I feel like the asking price is exactly what it should be, as the SL is a camera I would choose over ANY camera in the 35mm world, even the Pentax 645 series which is larger, slower, more cumbersome and much more limited, and you can not use M glass on them. Id even take the SL over Leica’s own S if both cost the same. The Sl is smaller, has a nicer design, and I prefer the full frame 35mm format over medium format for day to day shooting, without question. I have spoken  to a few pros, at least 7 of them who are switching to the SL from other cameras. They tested them and fell in love and a few of these are high-end pros who rely on a camera for their bread and butter. As I said, once you use one for a couple of days, you will NOT want to be without it. It’s addicting.

A few more images with the 24-90 which ended up being the lens I used most with the SL.

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If you clicked on the images above you will see just how good they look. The SL just continually pumps out amazing quality from Dynamic Range (though Sony wins in this dept. and beats the Leica in DR with the A7RII) to color, to AF to build, design and responsiveness. The SL is a camera that you will appreciate and want to keep for years and years. In fact, the AWB is probably the best I have seen in a camera. The high ISO is remarkable for a Leica and the speed and response is so out of character for a Leica (it’s fast)!

Sure, with Nikon and Canon you get hundreds of lenses to choose from..with the SL you get one Native lens, lol. BUT this will grow with time (remember Sony’s FE lens roll out? 2 years and they have a TON of amazing glass). The key here is that one can use M, S, T or SL lenses with the SL.

Next two with the  24-90

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With all of this out of the way, let us get to the testing. ISO, Comparisons and more…phew! 4100 words in and we are just getting to the comparisons! When I get excited about a new camera you can tell as the reviews get long. Sorry!

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VS the a7RII – HIGH ISO 

Many are asking me to go head to head with the Soy A7RII, so that is what I did, 1st up, ISO comparisons between the two. The Leica shocked me here in this test against the Sony A7RII for high ISO/Noise performance.

1st shot, ISO 12,500 on the SL and then 2nd, 12,800 on the Sony

Sony has the Zeiss 24-70 at f/4 and the Leica has the 24-90 at F/4 but we are testing noise here not lens or sensor performance. Click them to see full 100% crops as they are meant to be seen. ZERO NOISE REDUCTION ON THESE!

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Now ISO 50,000 on the SL and 51,200 on the Sony (closest ISO match) – same deal, click them to see them correctly. THIS test surprised me greatly as I thought ISO 50K on the SL would fail. They knew when to cut it off because even 50K may be useful in some situations. 

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Not believing my eyes on that one I did another test in my dimly lit office at night…this time ISO 25k and I see some banding in the Leica shot this time. So banding is possible with the Leica at ISO’s past 12,800 but does not mean you will get it every time (as you can see above)

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Without question, this is Leica’s best high ISO camera ever and it performs to a level I never thought a Leica could go. 50K ISO? Wow. But what about daylight and base ISO? How is the RII against the Leica SL using a nice lens on the Sony? Let’s find out…

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VS the a7RII – STRAIGHT COMPARE

For normal IQ with base ISO who will win the IQ battle? Sony will have more megapixels at 42 vs 24 but which one will offer better color out of camera? Which one will offer more micro contrast and pop? One would think Sony has this tied up WITH THE NEW 42MP SENSOR.. and they just night but let’s take a look…

1ST up, the Leica SL. 24-90 at 35mm and f/4 – from RAW – CLICK IT!

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Now the A7RII with the 16-35 at 35 and f/4 – from RAW – CLICK IT!

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Leica SL, 24-90 at 35mm and f/4 – wow.. – CLICK THE IMAGES!

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The Sony has less detail at 100% here which shows a limitation of the lens at 35mm and f/4

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ONE MORE TEST COMING WITH THE SONY 35 1.4 INSTEAD OF 16-35!

More…

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AND BY REQUEST, I ADDED A TEST WITH THE SONY/ZEISS 35 1.4, which is what I feel is Sony’s best lens for the A7 system

Now slapping the gorgeous and magical Sony/Zeiss 35 1.4 (review here) on the A7RII to make it a fair fight…

1st up, the SL with 24-90 at 35mm and ISO 100. Tripod mounted. Click it to see the 100% crop and detail in that crop..

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Now the Sony A7RII with the 35 1.4 at f/3.5 and ISO 100. Tripod mounted. Click it to see the 100% crop. The Zeiss 35 did much better here than the Zeiss 16-35 above. Sharp, detailed and with the cooler Sony rendering. The Leica for me edges out the Sony in color and detail but we are splitting hairs here. Both are fantastic. 

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One more with the 35 1.4 Zeiss on the Sony…

The Leica again, same setup as above. Click it to see the crop correctly

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Now the Sony..again, the color of the Leica edges out the Sony IMO, but we can go either way with the detail crop. You may get more resolution with the Sony but the Leica edges it out in detail. The lens and sensor combo of the Leica are stunning. The Sony sensor is also stunning and needs a lens like the 35 1.4 to get the most of it (Or Zeiss Batis, Loxia, etc)

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At the end of the day, the Leica slightly edges out the A7RII in IQ (for me) in color, and crispness and pop. Take into account the other things that best the A7RII and we have the $4k difference in price that is justified here. (Build on another level, EVF on another level, usability much better, pro features and competing high ISO (with more detail) and the SL shows it is worth the cost to those who want to make the jump. Again, for quality of all current model mirrorless cameras available today, my top three are Leica SL, then Sony A7RII and Rx1RII with the Leica Q in 4th.

Out of camera color (AWB) and JPEG comparison

Here are two simple snapshots showing the out of camera color from each camera, the SL and A7RII. The Leica will give you a warmer rendering and the Sony a cooler rendering which is how it always has been it seems…

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And both with an out of camera JPEG. Again, the Leica AWB here nails it with rich color and  tone. The Sony AWB misses a but and has an off color leaning a bit to yellow..

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After I did these tests I was incredibly surprised. I thought the Sony would win in all areas. But what I saw is that the Leica wins in perceived detail, color and even matches the Sony (almost) at high ISO minus the banding issue with the Leica when shooting at 25-50k (sometimes). This is not your typical Leica! It is polished, smooth, feels mature and feels like a product that has been refined for years.

The SL with the soon to be released Grip

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VIDEO with the SL?

Will add a video here soon shot with the SL, stay tuned!

Shooting video on the SL is not something I will do often but I did shoot some video and it looked beautiful and even the built-in mics are very good with a huge beefy sound much like the Sony A7 series. The SL can shoot 1080 or 4K video and it does it very well. It has pro level video specs but if you want to know more about the video, I suggest  reading elsewhere as this review is focused on the image performance. Even so, I can even tell that this is Leica’s best video to date. It’s not an afterthought like it was on the M 240, it’s the real deal.

Video Specs of the SL

4K Super 35 (4096 × 2160p) at 24 fps
4K-UHD (3840 × 2160p) at 25/30 fps
Full HD (1920 × 1080p) up to 120fps
Video RAW/log format recording
10-bit output
Time code (for video editing)
Integrated stereo microphone
Audio interface for headphones and microphone
UHD resolution (3840p × 2160p) at 25 or 30 fps
In all 4K mode, the APS-C formatarea of the sensor is used and the viewing angle is reduced by a factor of 1.5

An OOC JPEG from the SL with 50 Lux ASPH

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PROS AND CONS (focus button, etc)

Pros

  1. Build is as good as it gets without being too heavy
  2. Weather sealed!
  3. BEST EVF EVER
  4. Battery Life = Amazing
  5. Simplicity at its finest
  6. Fast AF, and yes, this IS a Leica!
  7. Versatile as it can use just about any Leica lens ever made from M to R to T to S to the new lenses
  8. Manually focusing M lenses is a breeze due to the EVF, Peaking or Magnification
  9. EVF touch screen for focus point and viewing images, very smooth
  10. Leica did not skimp ANYWHERE on the SL
  11. A true Pro level camera
  12. Image quality is stunning
  13. Best ISO performance of any Leica digital, EVER
  14. Video is pro level and the two button design is genius
  15. Feels and shoots like a $10k camera
  16. MUCH nicer than lugging a medium format rig around
  17. At home on the street, landscape or in the studio
  18. Packaging and presentation is top-notch as usual
  19. Diopter control just like on the S, so easy to dial in!
  20. Best mirrorless camera experience all around that I have ever used
  21. Will be able to use Nikon or Canon or 3rd party lenses when adapters are available. That’s the beauty of mirrorless.
  22. DUAL SD CARD SLOTS! Can back up #1 or use both as storage and door is solid.
  23. GPS is built-in, just turn it on in the menu to activate it!

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Cons

  1. Only one native lens at launch. Should have had THREE at least! (more coming in 2016)
  2. Need an expensive adapter to use M lenses or R lenses, etc
  3. Wallet Buster for mere mortals! Body only $7500. The one SL lens, $5000. $12500 for body and lens. Ouch.
  4. Sony A7RII is an IQ monster with all kinds of goodies for less than half the cost, but in mirrorless, that is the only real competition to the SL.
  5. You can/may get banding at higher ISOs around 25k and up.
  6. With the 24-90 it is a large and somewhat heavy system if you are used to an M. With an M lens, it is not heavy or cumbersome at all though.

 

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FINAL THOUGHTS on the Leica SL (lenses, versatility, build, quality 100%)

Well well, you made it this far (or skipped over the rest) and I can happily say that I had a blast writing this review and using the Leica SL over the past weeks. It is a new era for Leica as they have created a system camera that IMO beats every single mirrorless camera made today, and IMO, beats any DSLR (but I am not a DSLR guy) with its build, simplicity, EVF, and overall quality and usability. While this will not replace a Nikon D4 or 1d series body for many, it will be the ultimate Leica for the Leica fan as you can use ANY Leica lens made on it from M to R to S to T, the SL can handle it.

Using it with manual focus M glass is a treat due to the huge clear EVF and the connection one can have with a camera that is working WITH you instead of AGAINST you.

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Really, the SL has amazed me every single day with what it can do, and I am shocked because in the past there was usually a compromise with Leica. With the M8 and M9 it was ISO, limited to shooting at low ISO’s. With the S2, it was also limited to ISO and most stopped at ISO 640 with the S2. With the M8 and M9 we had quirks and issues from SD card issues to cracking sensor glass and more.

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The SL is without question the best digital camera from Leica I have ever used. In fact, and this is a HUGE statement, it is my favorite camera I have ever tested and it knocked my Sony A7RII to #2. The Leica SL has everything one would want in a true German Leica….and I enjoy it more than the M8, M9, M240 or Q. No contest.

Here is why…

  • BUILD – Weather sealed, sturdy, feels like a solid chunk of metal (oh, it was made from one)
  • Speed (fastest Leica AF ever)
  • Versatile (Uses any Lens Leica has ever made via adapters)
  • New lens line is STUNNING in quality
  • EVF – Best made today, period.
  • Simplicity (WOW, this is how a camera should be..trust me on this one)
  • Low light – (ISO 12,500 is fantastic and goes up to 50k but Sony still leads in high ISO)
  • Battery Life (One charge lasted me a week)
  • Controls (joystick is AWESOME for picking on the fly focus point – – -for example, the eyes)
  • Menu system is SWEET and SIMPLE and EFFECTIVE
  • Beats the M 240 at the same price in IQ, build, versatility, and more
  • Video mode is VERY nice and the double button system is genius (1st Leica with AWESOME video)
  • New 24-90 is the best zoom I have ever tested or used or owned
  • Not big when using M glass, feels fantastic in the hand
  • IQ is somewhere between M9 and M 240 as far as rendering, and this is good
  • Best AWB I have seen in a digital camera, ever. 
  • Built in GPS
  • Dual SD Card slots with pro build solid door
  • You get what you pay for, is it worth $7500? To me, yes. 

Now of course we have the incredible Sony A7RII which is still one of my top fave cameras EVER. It offers SO MUCH for less than half of the Leica SL and I will never sell mine. But it feels like a $3400 camera where the Leica feels like a $10k camera. This SL truly feels like a Mini S camera, and that is a good thing but truth be told, the Sony A7 V2 series is probably better for most reading this as you can get an A7RII and a couple great lenses for the cost of the SL body only. The A7RII IQ is different but not worse or better, just different. This Leica will be for the Leica people or a studio pro or even street shooter who wants a camera that will last them much longer than a normal camera would.

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Congratulations to Leica on this one, for me it is my Camera of the Year for 2015 due to the innovation here. Best ever EVF, amazing battery life, crazy good pro build/features and weather sealing, stunning IQ and color performance, more refined than my #2, the Sony A7RII in every way from IQ to operation to build to the use of M lenses… and a nice start with the incredible performance of the new 24-90 f/2.8-f/4 Variable zoom.

Leica deserves the accolades here and while many will trash talk the SL (without ever using one) the facts are clear. It’s an amazing camera for usability, battery, and build. Period. It is IMO, not overpriced at all. Well worth the asking cost for those with the deep wallets that can afford it. As I have said, sometimes yo DO INDEED get what you pay for.

Throughout 2016 I will do new lens reviews on the SL, testing various M mount lenses and maybe a few R lenses. Will be fun to do for sure.

So yes, the 2015 Camera of the Year for me is the Leica SL with the Sony A7RII coming in 2nd and the Sony RX1RII in third. Honorable mention goes to the Olympus E-M5 Mark II.

The Huff House where all of these goodies arrive for testing :)

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WHERE TO BUY?

My preferred Leica dealers are below. All are fantastic and will treat you right!

Ken Hansen – E-mail Ken at [email protected] to get on his SL list

PopFlash.com – Click HERE to check out PopFlash’s SL Page!

B&H Photo – CLICK HERE for the B&H SL Page

Leica Store Miami – They have the SL listed HERE

Below I will leave you with a few more snaps with the Leica SL.  Thank you for reading this review as it was my pleasure writing it for you. My life is truly blessed to be able to do what I love to do each and every day. Thank you all!

Want More? Here are some OTHER Leica SL Reviews :)

BTW, if you want to see more reviews on the SL you can see a couple below that I recommend!

Ashwin Rao SL Review (HERE on this SITE)!

Jono Slack Leica SL Review

Kristian Dowling Leica SL Review

One more thing…

Why is it that many people feel a camera should only be judged on image quality? When I review a camera it is a review of the entire package. Build, Feel, Controls, Menu System, Speed, Response, ISO, AF accuracy and Speed, AWB, COLOR performance, EVF/LCD, built in Mic for video, and every little thing. IQ is just one little aspect of a good camera and ALL serious cameras today have astounding IQ that is good enough for ANYONE, pro or enthusiast.

So when looking for your next camera look at all aspect of it to make sure it is something you jive with for the long haul. One reason the Leica SL made CAM OF THE YEAR 2015 for me is due to all of what I just said as there is no mirrorless camera made today that can compete with the SL on build, AF accuracy and response, AWB, EVF, Simplicity, menus, even retaining detail at up to ISO 25k. No other mirrorless made today is at the level of the SL which is why the SL is $7500 (and well worth it if this is truly your passion).

 

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PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

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 receive 100-300 emails a DAY). Because of this, I could use 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 diapers..you 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 (250 hours a month, and about $3000 per month).

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 (not the B&H) 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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Nov 242015
 
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From Canon to Fuji Sony. An A7RII User Review

by Ben Jacobsen – See more: http://www.benjacobsenphoto.com/ and his flickr: https://www.flickr.com/photos/benjacobsen

 

The Sony switch… As most of you know I’m a long time canon shooter that made the mirrorless switch to fuji last year. The majority of my photography business is based around shooting architecture with a UWA zoom. My switch to fuji happened as soon as their 10-24mm was available (as well as their XT1 promising fast AF). I shot with a complete fuji setup last year for weddings, architecture and landscape work as well as for my personal images. While I was happy with my switch away from canon (I wasn’t using my DSLR for anything but paid work because of it’s size) I wasn’t quite happy with the AF speed and files quality I was getting. They were good enough but I wasn’t 100% satisfied. Then last year at photo expo in NYC I stumbled into the Sony booth and saw their brand new 16-35mm f/4. This lens paired with an a7r was practically the same size as my XT1 and 10-24mm but it had a full frame 36mp sensor… Then I walked over to their dark room focus torture test and saw how well the a7s could focus in ridiculously low light and I was sold…

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I got home and ordered an a7 thinking it’d be the best all around camera for me. I’d been more than happy with my 5DIII’s 24mp so it seemed like the best compromise with better AF over the a7r and more resolution than the a7s. When it arrived I noticed a flaw in the sensor and AA filter design that caused it to have what I call “green ghost flares” where the flare from a light source gets this very weird green flare. This is NOT lens flare and it is a huge issue for me with architectural images. So I tried the a7r next… and LOVED it’s sensor (and w/o an AA filter the green flare was gone) but it’s AF was far too slow to shoot people with for me. Next was the a7s which was great, crazy high ISOs, good enough AF and no ghost flares. But before a week was up with it the a7II was announced and I was hoping they’d fixed the green/ghost flare issue so I preordered it and waited… It came and is/was a GREAT camera. Middle of the road MP, great DR, good enough ISOs, and the best AF to date (the a7rii beats it but came out later). The reworked sensor and AA filter fixed the ghost flare issue. I was happy. Then the a7rII was announced and I knew that the combination of the best AF in the series in combination with the best sensor would be the best fit for me. Not only does the a7rII have the most MP but somehow it’s ISOs are cleaner up high -vs- the a7II. I’ve had it since August 6th (3 months, 7,517 shots taken) and I’m here to share my thoughts!

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That Sensor!

Let me start off by saying that I’m thrilled with the sensor in the a7rII and it’s AF has done nothing but impress me so far! While I’ve always said I don’t need more resolution -vs- what my canon or fuji have provided in the past, it does make for some GORGEOUS prints! I have a 32″x48″ canvas from the a7rII in my house and the added detail is noticeable if you look for it. You also get dynamic range that the canon couldn’t dream of touching and it’s ahead of the fuji as well. I’ve had some architectural shoots where I’ve bracketed a shot thinking I’d need to HDR it and in post I can +99 the shadows and blacks of the shot with the best detail in the highlights and get basically the same look! Sure there’s some noise in the shadows when you do this but it’s just insane as a former canon shooter that you can do this without seeing crazy patterned noise. Now the ISOs are also very good. I shoot up to 12,800 without a concern. There’s luminance noise at that point and you lose some of the pop from the colors but there’s zero chroma noise at all! On top of all that without an AA filter there’s no green or ghost flare issues with the a7rII.

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Now this can’t be a proper a7rII review without at least mentioning compression of the raw files! Personally I haven’t had a problem with the 14-bit compressed files we’ve had since the beginning. I know you have to shoot with the camera in single shot mode, no bulb, no long exposure noise reduction and no high ISO noise reduction to get true 14-bit files. This is how I shoot my landscapes. Sony has now released an uncompressed option that’s basically putting the 14-bits into a 16-bit file which means the files go from ~45mb to ~90mb… It’s up to you if you need it. I’m using 14-bit compressed for landscape and architectural work and then 12-bit for weddings. I don’t need the extra depth there and the files are smaller and faster to process in 12. I use either silent shooting mode or either L or H FPS modes to “force” the camera into 12-bit mode as needed.

Auto Focus

The auto focus on the a7rII is amazing. I know a lot of guys will say that it can’t keep up with a pro series DSLR but at this point it really makes me wonder. I’m not saying it’ll track a subject that’s moving quickly at 11fps because the body can only shoot 5fps. What I am saying is that in just about any light I’ve had very little problems with the AF with this camera and I’m coming home with much fewer out of focus shots. Even -vs- my old 5DIII! I remember shooting wedding receptions with my 5DIII (once we’d given up on ambient light and gone all flash) where I’d switch to my 16-35mm 2.8 only because it focused a lot quicker in low light -vs- my primes. With the sony I can shoot with my 25mm f/2, 55mm 1.8 or 85mm 1.8 and they all lock on and stay locked on during low light reception shots with little to no lag at all. I’ve been VERY impressed! I’m coming home from weddings with hardly any shots that are out of focus. I’m talking less than 5% (and some of that can be blamed on me pressing the shutter before it locked).

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That’s not to say it’s perfect though. Sony has added so many bells and whistles to it’s AF system it can be very confusing at first. Face detect, eye AF, center lock on AF, expandable flexible spot, the list goes on and on! While it’s taken a little getting used to and some manual reading (yes, I admit it) and I STILL don’t know all the functions of this AF system, I will say it works really well. The other odd thing I’ve noticed is out of focus shots when shooting architecture. With my canon and fuji setups I would manually focus the first image and basically leave the lens alone for the rest of the shoot and I’d be all set (focused about ~6′ into a scene stopped down to f/16 on full frame). With the sony I’ll AF the first shot and I’ve noticed every once in a while when I go to the next shot the focus will be way off (nothing in focus at all, even at f/16). This happens in both MF modes and AF modes. I’m not sure if I’m bumping the focus ring or if it’s refocusing on something at a bad distance or what. I’ve learned to just ALWAYS use the AF after each new shot to be sure and I’ve been fine since, but it’s worth mentioning…

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Manual Focus

Some of you need to just skip right past this section as you won’t all use manual focus. I manually focus a lot of my landscape and architecture shots. EVFs and LCDs have made this easier in some ways but the “focus by wire” design of the lenses make it much harder at times. If you’re coming from a canikon DSLR your lenses are not drive by wire. You physically move a ring that moves the elements inside the lens to make it focus. This works with the lens on or off a body (without power). With mirrorless cameras they use the camera’s power to move the parts inside the lens. The ring you move is just telling the computer in the camera to move the elements in the lens in a certain direction. It’s a bit slower and harder to get “perfect” vs the old way… I find myself getting really close to just right pretty quickly but then I go back and forth from too far to too close a few times before settling in on “good enough”. Peaking can help in a lot of situations but it can also hurt in others (it won’t work at all for stars). The camera also has a function called “bright monitoring” that basically uses a very slow frame rate so it can gather more light and show you a very dark scene better but it’s very laggy (due to the slow frame rate) which means it’s hard to see your focusing changes because there’s a much longer delay. This function is also only available on the full view (ie you can’t zoom in). I’ve since learned to focus stars accurately you need to turn peaking OFF (yes off), then zoom in on the brightest star in the frame and manually focus until it becomes the smallest point it can. Peaking needs to be off because it works by showing you points with good contrast because those tend to be in focus. Even with peaking set to the minimum it’ll tell you a star is in focus well before it is as well as long after it’s no longer sharp. Simply turning it off and zooming in will get you great results.

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My other complaint with manually focusing on the sony cameras is the information they show on the rear LCD is terrible. You get a gray bar on the back of the screen with head on the left end (for the close end) and a mountain on the right end (for far). There’s then a white bar that moves back and forth as you focus the lens and it tells you the distance you’re focused at. This bar is always the same thickness at all times. It should get wider if you stop down and it should also get wider as you focus further away! They also only tell you the distance you’ve got your lens focused at but they do not tell you the near or far limits of the DOF (and it’s in meters only with no way to change to feet that I’ve found?). If you’re focusing for a landscape image you want the most DOF possible. To get this you want the far end of your DOF at infinity. With sony’s display it’s impossible to know where this is without using a DOF calculator of some sort (app or website) which is a PITA. Colby Brown shared with me that setting the focus distance to the first number displayed that’s less than infinity seems to work pretty well for him (and I agree). If the lenses had a scale on them physically it would help a lot. Zeiss has OLED screens on their lenses that do this. Their display also shows you the near and far limits as well as the distance you’re set to. It’s as simple as focusing until infinity is on the long end and you’re done with one of the batis (I’d kill for them to remake the 16-35mm with sony and remove the OSS and add in the OLED!).

The body

The sony full frame cameras are built “good enough”. They’re strong and solid and great but not quiiiite as solid as my old 5Diii. They’re sealed though as are all their lenses and I’ve certainly had no issues with them. The II version have a much nicer grip on them as well as IBIS or in body stabilization. For a lot of you IBIS is probably a huge deal and crucial. Personally I’m either shooting people where I’m using a shutter speed well over 1/focal length or I’m using a tripod. That’s not to say I’m not a fan, I’ve just been happy with it in my lenses in the past. What really confuses me here is if all three of the current bodies have IBIS why’d they build OSS into a lot of their lenses (my 16-35mm, 24-240mm, and 85mm all have it)? It’s extra optics and cost and weight… I will say however that the fact that the sensor moves makes it a LOT harder or maybe just weirder to clean your sensor. It moves now! The SD door on the a7rii is also nice and firm now. I mention that because they changed it’s orientation on the II versions. The a7/a7s/a7r were rock solid, but the a7ii had a tendency to open on me. The a7rii’s door is a bit more solid now and I’ve yet to have an issue with it.

The viewfinder is bigger and better but it’s still not as nice as fuji’s. I’m a fan of EVFs but sony’s doesn’t have the tricks and display modes that fuji has baked into theirs. Remembering AF points for vertical -vs- horizontal compositions would be great! The eye cup on the a7rII also seems to be better built -vs- the a7II where the rubber liked to pull away from the frame. The tilt out screen is WONDERFUL for architectural and landscape shooters. I’ve gone from preferring the simple slide up/down style sony’s used on the a7 series to wanting one that flips out with a side hinge so it can work for vertical shots as well… One complaint with the EVF/rear LCD is the sensor for the automatic switch is far too sensitive on these cameras. When I’m backed into a corner of a room it’ll see my chest with the sensor and switch to EVF mode even though I’m ~6″+ away from it. I’ve assigned the viewfinder switch to C2 so I can cycle it back to the rear LCD but if the sensitivity was just turned down a bit (to fuji levels) it’d be great.

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The Customization options on this camera are almost perfect. There’s two custom buttons up top near the shutter (I have mine set to the brightness monitor and switching between the EVF, LCD and auto display modes). Then on the back there’s C3 (set to focus magnification), AF/MF (set to switch between AF and MF for me), AEL (hold to AF, release to stop AFing) and the C4 button (eye focus). I’ve got the 4 way buttons set as labeled but down is set to face detect for me. The center button is set to “default” which means pushing it allows me to then move the AF point with the 4-way which is great (and hitting delete short cuts to the center AF point). The reason this setup is NOT perfect is because the list of things you can assign to buttons is limited. You can not for example set the aps-c option to any button in the camera (it can’t even go on the Fn menu). This is something I use quite a bit and would LOVE to have on a button! You also have to OK the options once you hit the button. You should have an option to have them be quick changes where one button press changes the setting if it’s only got 2 options.

Menus

A lot of people like to say that the sony menus are a hot mess. While they’re certainly not as good as they could be I don’t really see them as a mess. I’ll add to this though that I’ve been a sony/NEX user since the very first NEX5… The old NEX menus were terrible… The new tabbed layout is very similar to canon and works quite well. I will say it’s missing a “my menu” option where I can pick a page worth of options for myself and to have that always be the first menu page that comes up when I hit menu. Sony will argue that the Fn menu handles this task but it only allows about half the options from the full menu to be put as options in it (and it’s crucially missing the option for APS-C/super 35 crop to be on or off!!!). I’ll add that I prefer sony’s menus over fujis. You can learn where everything is in either over time but I prefer sony’s. The Fn menu itself should allow you to set ANY function to it’s 12 spots (and I’d personally like an option for 1 2 or 3 rows, you’re locked into 2). Some of the options need some help as well. I have steady shot set to my top left spot so I can turn it off when needed. The next spot over is then the setting for automatic or manual focal length detection (if you’re using non E or FE or adapter A mount lenses you need manual), then the THIRD spot over is for the focal length if using the manual option…. Why all three of these functions couldn’t be part of the same steady shot menu I don’t know (steady shot options: off, on-auto FL, on-manual FL with a list).

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Necessary Accessories

There are always a few accessories that you need to complete your system but there are a few with mirrorless cameras in general and specifically the Sony system that I’d say are must haves. The first on the list would be a great battery charger and plenty of spares. I’ve had a watson dual desk charger since my fuji days and it’s a life saver. Charge a battery that’s close to full in the provided wall charger and it’ll be blinking full almost immediately. Toss it in the watson and it’ll tell you the % it’s at an actually top it off to full power. Before the watson I’d use 6~8 batteries at a wedding with my X-T1. With the watson this has gone down to 4. The sony now uses the same 4 batteries as I’d use with the fuji. The great thing with the watson is that it takes ~$2 plates to change it from a sony to fuji to ricoh to canon charger! Of course put extra batteries in this section as well. I have ~7 sony batteries at last count. I keep 1 in each camera (I also have an a6000) and 4 in my think tank photo battery holder. The dual battery wallet is also nice for family outings.

Second up for me would be grips and plates. When I shoot a wedding I use the neewer (mine says meike on it?) battery grip. I’ve never really been a grip user with DSLRs (I have always preferred smaller lighter cameras). With these mirrorless cameras getting as small as they are and shooting with it all day at a wedding the added grip is great but the fact it doubles the battery capacity is awesome. I have noticed though that my grip will change the aperture setting when in Av w/o me touching it… For this reason I generally leave it’s buttons switched off and I’m considering the $300 sony version… Switching the buttons off isn’t a deal breaker for me though as I’ve never really used a grip much so I’m not used to the second shutter button but the other very strange thing is once you get used to using the EV dial on the body it’s very odd not having it near the second shutter on the grip. Whenever I’m not shooting a wedding specifically I’ve got my neewer L-bracket on the camera. L-brackets have been on all my cameras for years now as it makes switching from a vertical to horizontal composition a snap with my tripod head. I’m using the neewer l-bracket that came in a kit with the grip for $85. It’s $63 for just the battery grip, and $22 for just the l-bracket.

The third accessory I’d call a “must have” if you use flash would be any flash with a “Multi-Interface Shoe”. This is what sony calls their hot shoe with the data connection at the front. The reason this is important is it tells the camera there’s a flash involved. You can use “dumb”/manual flashes without this shoe without an issue (I do with my neewers) but because they don’t have the data connection the camera doesn’t put itself into two crucial modes: Flash WB and “setting effects off” for the live view. The first should be pretty obvious. Without knowing you’re using a flash the camera will be in AWB mode and the flash results won’t be consistent. Yes it’s an easy fix in lightroom by syncing the images and telling LR they all need flash WB but it’s much easier when the camera does this for you. The second and much more important option is that the “setting effect off” means the camera will artificially boost the ISO so you can see through the EVF to compose the shot. If this is left on, when you dial in your flash exposure you’ll be looking at a very dark (black!) viewfinder. With a normal/dumb flash you have to switch this mode on/off every time you mount/remove your flash. But with a “smart” flash with the correct shoe it’s automatic. For me this makes the nissin i40 the obvious choice as it’s TINY! It’s slightly less powerful -vs- the big speedlights but I’ve found with 1/8th power (and 1/4 when needed) it keeps up recycle time wise and I don’t need to boost the ISOs too high.

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If you’re a landscape shooter or the thought of a flash just seems silly to you, then I’ve got a different option for you… Filters! I’ve got a full set of Lee filters I carry in my mindshift filter hive. I’m also using some great new filter adapters from “the filter dude” on amazon. They’re $20 and the same as the wide version of the lee adapters (that cost ~$68) with the exception that the filter dude rings also have a set of threads on the outside of the ring so you can mount a traditional filter to them once they’re on your lens. Let me explain it this way: you’re shooting a waterfall and your panel or 105mm CP gets spray on it as does the front element of your lens. If you’ve got a 77mm CP in your filter hive you can thread it onto the filter guy ring with the ring still on your lens and there won’t be any way from spray to get onto anything but the outside of the round filter! I use this trick all the time shooting waterfalls! Once you’ve got the ring on your lens, don’t bother ever taking it off. Get some of these Lens Coat medium lens caps and use them over your rings. Makes it much easier than dealing with lens caps and threading on a filter ring in the cold dark morning before your coffee has kicked in. For any of you who’ve made it this far into a section about filters, grab some gaffers tape and tape over the logos on the front of your lenses… Those obnoxious white logos will reflect back at your filters and you’ll be able to see the text in the images (bottom right corner in the rocks there’s an orangish semi circle that’s the reflection of the words on the lens)!!!

sensor cleaning supplies… If you’ve ever made the jump from an APS-C body to full frame before you know full frame sensors collect dust at a much faster rate. If you’ve ever made the jump from a DSLR to a mirrorless/EVIL body before you know that EVIL’s have their sensor hanging out in the open when you change lenses… Combine the two and it’s a recipe for dust! I’ve got three things I use to work on the dust issue: 1) Sensor pen and loupe, 2) rocket blower, 3)gel stick. The gel stick is new to me and so far it’s been amazing. Make sure you get the orange sony version. The rocket blower gets off the easy stuff but I’ve found if the camera’s sensor cleaning function can’t get it off the rocket air usually can’t either.

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Big and fast SD cards… 42mp files can chew through a lot of space in a hurry. With the new uncompressed option they’re now twice as big (~90mb now -vs- 45mb uncompressed). Make sure you get cards with a ~90mb/s read AND write time! A lot of the cards offer that as a read speed but not write which is what matters most to the camera. I wish sony had used the faster tech fuji has in the XT1’s SD slot (250mb/s). I’ve got three 64mb 90mb/s SD cards that I’m happy with so far. I keep them in a “lenscoat memory card wallet SD9” that can hold 9 SD cards. I used to be a big think tank pixel pocket rocket user in my CF card days but the lenscoat SD card option is much smaller so I prefer it. Whichever wallet you go with MAKE SURE YOU KEEP A FEW BUSINESS CARDS IN IT!!! If you ever lose it you’ll at least have a chance at getting it back. The think tank option does have a nice strap on it so you can secure it to your bag but it’s a velcro closure which I don’t like at weddings. The lenscoat wallet uses an elastic that just loops over the end so it’s dead silent.

While we’re on the subject of memory let me talk about importing these massive files into your computer! Having a fast card does you no good if you don’t have a fast card reader to go with it. I’m a mac guy and I’m using an older iMac with the original thunderbolt port and USB 2.0 ports (or maybe even originals). Thunderbolt is my fastest option. I have a drobo 5D running on a thunderbolt connection. I then have this awesome lexar workflow hub withthree SD card readers (which can be used on their own with their supplied USB cord when you’re away from your desk). I have three readers because there’s a lot of times when I end up with three cards to import from between the drone, the a7rii and the a6000.

I also use the trick Dan Carr taught me about importing from more than one card at a time in LR which is a LIFESAVER!!! The one problem I have is that the lexar hub is USB3.0 so in order to take advantage of it’s speed I need to adapter it to thunderbolt so I’m using this belkin dock. I know these parts aren’t cheap (it’s about $500 for the hub and reader before you get to my external storage) but even since I upgraded to this setup last year my import times have become comically fast. Even with three filled cards. Of course it still takes lightroom forever to build previews but that’s another story. LR is slow to work with these monster files so be ready to throw some money at your computer if it’s not up to the task… I’ll be getting a new machine in a few months (retina iMac) and can’t wait.

The last accessory I’ll talk about is how moving to a mirrorless system can change your whole system in terms of tripods and bags. I’ve added a small travel carbon fiber tripod to my kit since going mirrorless. The camera is enough lighter I get enough support from a much smaller tripod and it can now fit inside my camera bag! This has also meant (for me) that I’ve moved to larger camera bags. Not for the camera, but because it means I can use one bag to carry all my gear for non photography purposes as well as my photo kit in a single bag. So rethink your bags and support, going to a bigger bag with a smaller tripod might mean everything can now fit inside one stealth bag!

Some notes:

  • 42mp is OMG WHOA! resolution… Even if you use the 18mp aps-c mode it’s still an amazing file with plenty of detail.
  • The DR of this sensor is crazy. The a7ii I’d been using was good, better than canon and fuji (no pattern noise like canon) but the a7rii is a level above that easily.
  • ISOs are ALSO really good and easily beat my a7ii, 5Diii and the fujis.
  • For a full frame body this thing is amazing small. I switch to fuji because I never used my 5Diii unless I was on a paid shoot due to size. This body brings the best full frame sensor in the market (all around, MP, DR, ISOs) to a tiny body. It’s the same size with the 16-35mm as my old X-T1 was with fuji’s 10-24mm.
  • AF is very good even in low light at wedding receptions… Canon has the “red ring of fire”, well sony has the “green boxes of focus”. It just works.
  • AWB feels like it’s maybe not quite as good as the a7ii? I’ve never shot them side by side though but it’s a gut feeling I get…
  • My AF buttons setup has the AF turned off on the shutter button. AEL is my focus but only when held down. It’s the basic rear button AF from my DSLR.
    all custom buttons
  • Fn Menu row 1: SS on/off, SS Adjust (manual/Auto for non sony lenses), OSS FL (for non sony lenses), Focus Mode, Focus Area, Center Lock-on AF
  • Fn Menu row 2: Silent Shooting, Peaking Level, White Balance, DRO/Auto HDR, Quality, Smile/Face Detect
  • Custom Keys: Shutter AF off, C1 = bright monitoring, C2 = Finder/Monitor Sel., C3 = focus magnifier, C4 = eye AF, Center button = standard (lets me choose AF point), left = drive, right = ISO, down = smile/face detect, AEL button = AF on, AF/MF Button = AF/MF control Hold
  • Battery grip is great for weddings, but the neewer version adjusts the aperture w/o touching buttons on me….
  • AEL button is hard to feel on the neewer grip. Awkward with EV dial only usable in horizontal mode…
  • you “need” to use a sony shoe capable flash. With a “dumb”/manual flash the flash doesn’t sit right in the shoe (too far back) but it also doesn’t auto switch the camera to flash WB and it also doesn’t change the viewfinder setting from
  • “live view display: setting effect on” to off for flash (setting is in the gear -> page 3, option 1). Using the nissin i40 does both automatically!
  • get a watson charger NOW!
  • get a nissin i40 for any on camera flash NOW! It’s tiny and light and perfect. Just don’t turn it up above 1/4 or the recycle time gets slow (but we have plenty of ISO on the a7rii). 1/8th is great.
  • magnification during replay is painfully slow!
  • buy a 90mb/s write speed SD card…
  • battery life is what it is but with a watson charger it’s 4 batteries for a wedding even at 2.5k+ images… You can also charge via the USB port WHILE SHOOTING for timelapse guys or if you’re hurting and out of normal sony batteries…
  • SD card door tighter -vs- a7ii where it opened on me quite a bit (but never on the a7/a7r/a7s because it opened the other direction).
  • eye cup rubber/shape is better than a7ii.
  • silent shutter is DEAD silent… subjects will actually keep posing after a shot because they’re waiting for the noise.
  • sigma and tamron need to start making their lenses in FE and E versions. They offer a mount conversion process for existing lenses which suggests the lenses are all the same and the mounts are the only difference. This makes me wonder if sony/minolta has some weird difference in their mount that makes it so making just the mount for the existing lenses doesn’t work? I’d prefer mirrorless specific versions anyway though (so they can be smaller/lighter).
  • Sony needs to make either the 70-300 or 70-400 in an FE mount. The longest FE lens right now is the 24-240mm (which has terrible sun stars but is a great travel all in one otherwise).
  • I’ve seen some very weird hunting with my zeiss batis 85mm in vertical/portrait mode that goes away instantly once the camera is horizontal but comes right back again when back to vertical. I’ve spoken with zeiss and sony about it and zeiss has been able to replicate the issue (only happens in super low light).

ILCE-7RM2-DSC09694

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Things to fix via a firmware:

  • APS-C mode (setting -> gear -> tab 6 -> option 4) should be allowed on the Fn menu or as a custom key. I use APS-C for weddings a lot as I don’t need more than 18mp there (I used mRAW on the 5Diii for 10mp).
  • mRAW options? You can force 18mp via the APS-C mode but there should also be smaller RAW options that use the full frame.
  • Add the option for a third row in the Fn menu (and also the option to drop to 1 for those who’d want that). There’s a LOT of menu options I use a lot and I need more space than the 2 rows provided for what I use regularly.
  • Add a “my menu” option similar to canon’s that gives me a traditional menu page where I choose everything on it but I get to choose from ANYTHING in the menus… Also, don’t limit it to a page (let it scroll if I want more than 6 options) and let me set it up so pressing menu always brings up this screen first.
  • EVF auto switch sensitivity is too high. I’ll be in a corner doing architecture work and it’ll see my body and switch to the EVF from the rear screen. EVF switch should NEVER activate when the rear LCD is opened either way (because if it’s open you’re using that and not the EVF).
  • The added 14-bit uncompressed option is great for those screaming for it (I never felt the compression caused any issues?). I’d love to see true 14-bit with lossless compression as well. Personally I’d also love to see an option for force 12-bit when you want it as well. For weddings I shoot RAW but don’t need 14 bit so I use the slow FPS mode to force 12 bits most of the day, then silent shutter mode during the ceremony (turning on long exposure noise reduction, high ISO noise reduction, bulb, any burst mode over single shot or silent shutter all force 12-bit mode).
  • During a long exposure the rear LCD is still powered on but black. This wastes power from a camera that uses a lot and uses small batteries already. Please turn OFF the screen during an exposure! -or- give the option to have it show a counter for the shutter length so I know when a 30s exposure is almost over. During bulb count up with that counter!
  • The manual focus distance scale display is terrible! It’s always a white line of a set width that doesn’t get thicker (showing more DOF) as you go wider with focal length, farther with focus or stop the lens down. It’s always the same size!
  • The zeiss batis lenses have GREAT OLED displays with GREAT info shown, copy that on the rear screen! Also make the white bar/line get thicker as you change settings accordingly (like fuji does).
  • allow the use of the manual focus assist view (magnified live view) to be used with “bright monitoring” (where it drags the shutter is super low light so you can focus) so you can use both and really nail MF in pitch black settings.
  • allow users to turn off the non whole stop ISOs for faster ISO selection… going from auto ISO (how I shoot wedding w/o flash) to ISO 800 (how I typically shoot reception shots) is 13 button presses when it would be 4 if the non whole ISOs were out of that list. Canon and fuji both allow this.
  • option for a quick delete w/o needing to “ok” anything…
  • Option to turn off some of the AF points. I always “watered down” my 5Diii to just the more sensitive points and the ones in the corners. Something like 25 (5×5 grid) would be perfect with the a7rii. But 399, especially when you use the small box makes it slow to move your selected AF point from one side to the other.
  • To go with the above, allow the user to “wrap” the AF point selection from one side of the frame to the other. IE if I’m using a point on the left side of the frame and I press left again it should “wrap” around to the point on the far right.
    allow customization of the dial directions. The shutter speeds on the rear dial in M are backwards for me… I’m re-learning but it’s taking a while!!!
    faster read and write speed. Feels like I’m waiting for the red light quite a bit. And the A7rii takes longer to write it’s 18mp aps-c files than the a6000 does to write it’s 24mp aps-c files… Use the UHS-I U3 cards that fuji put into it’s X-T1.
  • create a hyperfocal AF mode where the camera looks at the focal length and aperture and keeps the focus dialed into whatever distance puts infinity right at the far edge of the DOF. This would be a huge advantage for landscape shooters.
  • Allow the viewfinder to store which AF point is used for vertical and horizontal shots separately (canon and fuji do this).

Current (Fall 2015) Sony Kit:

I’m currently shooting with an a7rii with both the Meike/neewer battery grip (for weddings/events) and the Neewer L-Bracket for everything else. Lens wise the Sony (by Zeiss) 16-35mm is my go to wide angle zoom and what I shoot my architecture and landscape work with. I have the sony 24-240 as my light weight long reach lens and the tamron 150-600 as a no compromise I need reach lens with a Sony LAEA3 adapter. For wedding work I have the Zeiss Batis 25mm f/2, Sony (by Zeiss) 55mm 1.8 and the Zeiss Batis 85mm 1.8. I shoot weddings using the aps-c crop mode 95% of the time so this trio works out to be 35mm/85mm/135mm effective. I’ve basically added the Zeiss 85mm as a longer option -vs- what I shot with both canon (35/85) and fuji (23/56).

ILCE-7RM2-DSC00866

The other great thing with this setup is I can shoot the 25mm in full frame mode for those few shots where I “need” a wide prime and the 16-35mm becomes a pretty versatile mid range zoom for those reception flash shots at the end of the night. For flashes I still have my Neewer TT850s with their awesome Lion battery packs (that last for ~600 shots!) with their wireless transmitters but I only use those off camera now (they’re massive on this smaller platform). I picked up the nissin i40 for on camera (bounced) which is great because it automagically switches the camera’s WB setting to flash as well as setting the viewfinder mode to NOT reflect your settings (since the flash isn’t flashing as you compose you end up with a black view if settings are reflected). It’s also pint sized and light which is great, but also just powerful enough I can use 1/8 or 1/4 when needed to keep recycle rates fast enough and it’ll survive and entire reception with one set of AAs for me. I’ve also kept two aps-c wide angle lenses that play nice on full frame. The first is the sony 10-18mm f/4. It’s meant to be an effective 15-27mm f/4 lens but it also covers full frame from 12mm to 16mm and is nice and small! It’s a great lens for shooting milky way shots for me as I need the added width there. I’ve been toying with it on arch shoots where 16mm on full frame isn’t quite wide enough as well. The other aps-c wide lens I’m using is the rokinon 8mm fisheye. You’ll notice shots of the 12mm fisheye in the gallery below as well. I tried both and while the 12mm is slightly nicer optically (perfect sun stars) it’s just so much bigger and bulkier that it won’t get brought along as much and you can’t use a lens you don’t have! The 8mm is tiny and lives tucked away in a corner of my bag.

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Wrap Up…

Sony has a long way to go in terms of dialing in this camera to the extent that I have zero issues with it. BUT! The vast majority of these items are very minor details (which way dials turn etc). The camera is a great tool and the more I use it the more I learn and adapt to how it’s different and the less these issues matter. That’s not to say I don’t want them fixed (and please, via firmware so I don’t need to buy my sixth a7 body in a two year span!). It’s that I can work with what I have. The sensor and the AF are fantastic and will keep me in this system for the long haul. Sony is catching up with lenses (70-300 next please?!) and each new firmware update brings new features. It’s an exciting time to be photographer!

This camera finally delivers better image quality than what I had with my DSLR (5Diii) in terms of dynamic range, clean ISOs AND more resolution. It also gives me auto focus I can trust in pretty much any situation. I have more issues manually focusing thanks to the focus by wire design and the uninformative display. All in all I’m the happiest I’ve been with a camera since the 5Diii (my only complaint there was size/weight).

You can buy a Sony A7RII at Amazon or B&H Photo 

Nov 232015
 

Leica SL Review COMING! Update..

Hey guys! Just an update to let you know I am working my behind off on the Leica SL review as well as the Sony RX1RII review. These will not be rushed, as I really am digging in getting to know these cameras very well as both of these are tops in IQ and quality in today’s mirrorless market. I do feel the SL review may be published first, followed by the RX1RII and then a new SLR Magic lens for E-Mount (Though I have an M mount version), the 50 1.1 that comes in at under $400.

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I have been shooting these daily, and loving every moment of it. The RX1RII for its small size, great build and feel and IQ which is about as good as it gets in 35mm.

The SL has been a true workhorse. Battery life is off the charts as I am on the same charge as when I received the camera with 3/4 life left! The EVF is a thing of beauty, as is the camera. Hard to put into words unless you really feel/handle one yourself. AF is speedy, and everything FEELS pro.

Below are two shots from the Leica SL that show fantastic IQ and details.

Both were shot with the 24-90 Zoom which is a pretty stunning lens. Not nearly as heavy as you think either.

Click images to see true 100% crop and how it is meant to be seen! 

lamacrop

finchcrop

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