A rare Leica APO-Summicron-M 50mm f/2 ASPH. prototype created during the development of the one-of-a-kind Leica M for (RED) is heading to auction. According to Leica Rumors, the lens will be offered at the next Wetzlar Camera Auctions sale, which is scheduled to take place in Wetzlar, Germany, on October 10, 2026.

The prototype dates from around 2012 and was designed as part of the celebrated Leica project led by former Apple design chief Jony Ive and industrial designer Marc Newson.

The lens was developed on behalf of the charitable organization (RED), which commissioned Ive and Newson to create a completely reimagined version of the Leica M rangefinder.

Although manufactured by Leica, the camera and its accompanying APO-Summicron-M 50mm f/2 ASPH. lens featured a radically different appearance from the company’s traditional M-system products, with their exterior surfaces produced using a specially formulated metal alloy.

The prototype heading to auction does not carry a serial number and has a different design from the finished lens that was eventually paired with the unique Leica M for (RED).

This makes it more than just an unusual finish applied to a standard APO-Summicron-M 50mm f/2 ASPH.; it represents one of the experimental stages in the creation of a camera that would go on to become one of the most recognizable Leica special editions ever produced.

The final Leica M for (RED) replaced the familiar leather covering found on most Leica M cameras with a finely textured, laser-machined anodized aluminum exterior. More than 21,000 tiny hemispheres formed the distinctive surface, while both the camera body and lens were created from the custom-engineered alloy. Leica says that 561 models and approximately 1,000 prototype components were produced during the project’s 85-day development period, demonstrating just how much work went into creating the single finished camera.

That finished Leica M for (RED), equipped with a full-frame CMOS sensor and the specially designed APO-Summicron-M 50mm f/2 ASPH., was sold at Sotheby’s in New York in November 2013. The camera achieved a remarkable $1.8 million, far exceeding its original estimate, with proceeds from the wider (RED) auction supporting the Global Fund’s work against AIDS, tuberculosis and malaria in Africa.

Although this upcoming lot is only the prototype lens rather than the complete $1.8 million camera, its lack of a serial number, alternative design and direct connection to Ive and Newson’s creative process should make it an enticing piece of Leica history.

Wetzlar Camera Auctions has not revealed how much the lens is expected to achieve. Still, its status as a surviving prototype from one of Leica’s most ambitious design collaborations could generate considerable interest when bidding begins on October 10.

According to Leica Rumors, a new limited-edition Lailens LTM 50mm f/1.1 KP lens has been released in Japan, offering Leica M photographers an exceptionally fast, rangefinder-coupled optic with some serious vintage inspiration.

The new lens pays homage to the celebrated Kino Plasmat 5cm f/1.5 from pre-war Germany, attempting to recreate its distinctive character for modern photographers. Production will be restricted to just 70 lenses worldwide, making this a particularly rare addition to the growing market for alternative Leica M glass.

The Lailens LTM 50mm f/1.1 KP reportedly began as a passion project after a young developer connected with the enthusiasm of an experienced vintage-lens collector. Lens designer DJ was then commissioned to develop a modern interpretation of the classic design, preserving the spirit of the original Kino Plasmat rather than simply producing another technically perfect contemporary 50mm lens.

The result is intended to combine the atmosphere of an old optical design with the convenience of a lens that can be used on today’s full-frame rangefinder and mirrorless cameras.

Wide open at f/1.1, the lens promises an extremely shallow depth of field, rich bokeh and a soft, almost oil-painting-like quality. Rather than prioritising clinical sharpness and perfectly corrected results, the Lailens is designed to gently blur fine details, highlights and the edges of a subject, producing images with what its manufacturer describes as a fantastical atmosphere.

It is the kind of deliberately characterful rendering that could make the lens particularly appealing for portraits, nighttime photography and more experimental everyday shooting.

Despite that enormous f/1.1 aperture, the lens measures approximately 44.5mm in length and weighs around 308g, so it should remain relatively manageable when attached to a Leica M camera.

It offers a minimum focusing distance of 0.5m, a 52mm filter thread and a manual aperture range running from f/1.1 to f/16. The official specification lists a 13-bladed aperture, while rangefinder coupling is supported, although the closest coupled focusing distance may depend on the camera being used. Black and silver versions will both be available.

The Lailens LTM 50mm f/1.1 KP is priced at ¥138,800 in Japan and is supplied with a lens hood, front and rear caps, a lens case and an L39-to-M adapter ring. With only 70 examples planned for worldwide production, availability outside Japan may prove limited, but its combination of an ultra-fast aperture, compact construction and intentionally nostalgic rendering could make it highly desirable among Leica photographers and collectors searching for something a little less conventional.

See our guide to the best Leica M lenses

The Leica Summicron-M 28mm f/2 ASPH. is now in its third generation, and this latest version brings one of the M system’s most versatile focal lengths firmly into the modern era.

Combining a fast f/2 aperture, a compact aspherical design, an integrated hood, and a new 0.4m close-focusing distance, it promises classic Leica handling with greater flexibility than ever before. I tested it on the new Leica M EV1 to see whether this £4,700 / $6,000 lens can justify its considerable price.

Leica 28mm Summicron-M f/2 ASPH. Specifications

Mount: Leica M-mount
Lens design: 9 Elements in 6 Groups
Maximum aperture: f/2
Minimum aperture: f/16
Angle of view: 74°
Minimum focusing distance: 1.3' / 40 cm
Filter size: 46 mm
Dimensions: 2.3 x L: 2.2" / ø: 58 x L: 55 mm
Weight: 9.7 oz / 275 g

Leica 28mm Summicron-M f/2 ASPH. key features

The Leica Summicron-M 28mm f/2 ASPH., model 11618, represents the third generation of Leica’s fast 28mm lens for the M system. It takes the traditional qualities associated with an M lens – compact dimensions, mechanical controls, premium construction and a clear focus on photographic simplicity – and updates them for the latest generation of digital Leica cameras.

Its 28mm focal length makes it an extremely versatile option for documentary, travel, street, and environmental portrait photography. It is wide enough to include plenty of context within the frame, but it does not immediately introduce the more extreme perspective effects associated with wider focal lengths. For photographers who like to work with a single lens, 28mm can cover a surprisingly broad range of subjects.

The fast f/2 maximum aperture adds another layer of versatility. It allows the lens to be used comfortably in lower light while also providing some control over depth of field, particularly when working near the new 0.4m minimum focusing distance. A 28mm lens will never produce the same dramatic subject separation as a fast 50mm or 75mm optic, but the combination of f/2 and close focusing makes it possible to isolate details while still retaining a sense of the surrounding environment.

Aspherical elements are used to help maintain strong image quality while keeping the lens compact. This is one of the core appeals of Leica’s modern M lenses: they deliver impressive optical performance without turning the camera into a large or cumbersome system.

The biggest practical development is the extension of the focusing range from the traditional 0.7m limit down to 0.4m. The lens remains mechanically coupled to the rangefinder between infinity and 0.7m, while focusing between 0.7m and 0.4m requires Live View or an electronic viewfinder.

This model also features the built-in retractable hood that is becoming increasingly common across Leica’s newer close-focus lenses. I particularly like its implementation on the 28mm Summicron-M. It keeps the overall package neat, removes the need to carry a separate hood, and feels entirely in keeping with the compact philosophy of the M system.

Leica 28mm Summicron-M f/2 ASPH. Build and handling

The Leica Summicron-M 28mm f/2 ASPH. is built to an outstanding standard, exactly as you would expect from Leica. Its metal construction feels substantial without making the lens unnecessarily heavy, and every control has the precision required from a fully manual lens at this level.

Mounted on a Leica M camera, it creates a wonderfully compact and well-balanced package. The 28mm Summicron-M feels reassuringly solid in the hand, yet it is small enough to carry for an entire day without becoming a burden. That compactness is an important part of the lens’s appeal, especially when compared with fast 28mm lenses designed for larger autofocus mirrorless systems.

The built-in hood is one of my favourite aspects of the design. It slides smoothly into position when required and retracts neatly when it is not needed. There are no separate accessories to attach, remove, or potentially lose, and the hood does not disrupt the clean silhouette of the lens.

The manual focusing action is beautifully smooth and offers enough resistance to make precise adjustments without feeling slow. Leica has also incorporated a noticeable stopping point when the lens reaches 0.7m. From there, you deliberately push the focusing mechanism further to enter the extended close-focus range between 0.7m and 0.4m.

I found this particularly encouraging in use. You can clearly feel the transition when the camera is held to your eye, so there is never any confusion about whether you have moved beyond the range that can be focused through a traditional optical rangefinder. It is a small mechanical detail, but one that makes the expanded focusing range feel intuitive rather than awkward.

The aperture ring is equally impressive. It is incredibly responsive, with positive clicks that are easy to feel when the camera is held to your eye. This makes it straightforward to make quick exposure adjustments without lowering the camera or checking the position of the aperture markings.

I tested the lens on the new Leica M EV1, and I have to say that the combination works incredibly well. The compact dimensions of the lens suit the body perfectly, while the electronic viewfinder lets you make full use of the close-focus range without changing how you operate the camera.

On a Leica M11-P or another optical rangefinder-equipped M camera, reaching the close-focus range means switching to Live View and relying on the rear LCD screen. That can interrupt the otherwise fluid experience of shooting through the optical finder. The M EV1 eliminates this slightly strange operational change.

With the EVF held to your eye, you can continue focusing smoothly from infinity all the way down to 0.4m. Focus magnification and electronic focusing aids also make it much easier to confirm critical focus, particularly when working at f/2 or f/2.8.

Leica 28mm Summicron-M f/2 ASPH. Performance

The images produced by the Leica Summicron-M 28mm f/2 ASPH. are fantastic. At its maximum aperture, the lens delivers a lovely combination of detail and character. Images remain sharp, but they do not feel overly harsh or sterile, and there is a pleasing transition between areas that are in and out of focus.

Shooting at f/2 also gives the lens a distinct visual quality. There is enough separation to draw attention to a subject when working at shorter distances, but the 28mm field of view continues to provide context around it. This makes the lens particularly effective for environmental portraits, close documentary details and low-light street photography.

As the aperture is stopped down, the rendering becomes progressively more controlled and clinical. Between f/4 and f/8, the lens produces the kind of crisp, detailed and highly consistent results that make it suitable for landscapes, architecture, travel and general documentary work.

I normally tend to photograph between f/4 and f/8, particularly when using wide-angle lenses. However, while testing the 28mm Summicron-M on the Leica M EV1, I found myself shooting much more frequently at f/2 and f/2.8.

That was largely because the EVF made it easier to hit critical focus. Rather than relying entirely on rangefinder alignment or moving to the rear screen when entering the close-focus range, I could keep the camera to my eye and confirm exactly where focus was falling. This made me far more confident about using the lens wide open.

The ability to focus down to 0.4m also changes the way the lens can be used. Previous versions of the 28mm Summicron-M were already excellent documentary lenses, but the shorter minimum focusing distance opens up opportunities for photographing smaller details, food, objects and more intimate moments.

It does not transform the lens into a macro optic, but it brings a useful new dimension to a focal length that is often associated primarily with wider scenes. You can move closer, fill more of the frame and take greater advantage of the f/2 aperture without needing to change lenses.

The 28mm Summicron-M also feels extremely consistent throughout its aperture range. At wider settings, it offers a little more atmosphere and character, while smaller apertures produce cleaner, more technically precise results. This gives photographers a meaningful creative choice rather than simply encouraging them to stop down for better quality.

As expected from a modern Leica aspherical lens, the overall rendering is refined and controlled. Detail is excellent, contrast is strong without feeling excessive, and images have the clarity required to make the most of high-resolution M cameras.

Sample images: Leica 28mm Summicron-M f/2 ASPH. 

Leica 28mm Summicron-M f/2 ASPH. lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness is excellent in the center of frame, even wide open at f/2. Move out towards the corners and sharpness quickly drops off, however, though at least there's no further reduction in sharpness when you reach the extreme corners of frame.

Fringing:

There's a little fringing visible in the corners of frame at mid-to-narrow apertures, and wide open you might spot some aberrations in the mid-frame, but it's nothing distracting.

Distortion: -0.33

The lens produces just a hint of barrel distortion, but it's impressively minimal for a wide lens.

Leica 28mm Summicron-M f/2 ASPH. Verdict

The Leica Summicron-M 28mm f/2 ASPH. is an extremely versatile lens and one that is capable of producing outstanding images. Its compact construction, fast maximum aperture, and expanded focusing range combine to make this third-generation model the most practically capable version Leica has produced.

The built-in hood is a welcome improvement, the aperture and focusing controls feel exceptional, and the noticeable transition at 0.7m makes the close-focus mechanism easy to understand through touch alone. These details show how Leica has modernised the lens without losing the mechanical simplicity that defines the M system.

Its partnership with the Leica M EV1 is particularly convincing. The electronic viewfinder allows the lens’s extended focusing range to feel like a natural part of the shooting experience rather than an additional feature that requires a change in technique.

On an optical rangefinder body, the need to move to the rear LCD once you pass 0.7m can still feel a little awkward. On the M EV1, however, you simply continue focusing with the camera held to your eye. That makes the 28mm Summicron-M feel more complete and encourages greater use of both its close-focus capabilities and wider apertures.

There is, of course, no escaping the price. At $6,000 / £4,700, the Leica Summicron-M 28mm f/2 ASPH. represents a considerable investment. That is a lot of money, no matter how you look at it, and there are significantly more affordable 28mm alternatives available for the M system.

However, as I often say with Leica lenses, this is not necessarily something you buy with the intention of replacing it in a few years. It is a lens that could remain in your camera bag for the rest of your photographic career. Viewed across decades of use, that initial cost may become easier to justify.

The 28mm Summicron-M produces the kind of outstanding images that it should at this price, while its build quality and mechanical operation feel designed to last. The cost must still be seriously considered, particularly when comparing it with other options on the market, but there is no questioning the quality or capability on offer.

For photographers who want one of the finest compact 28mm lenses available, particularly those using the Leica M EV1 or another EVF-equipped M camera, the third-generation Summicron-M 28mm f/2 ASPH. is an exceptional choice.

If you enjoyed this, you might also like our best Leica M lenses guide, Leica Q3 review, Leica M EV1 reivew, and see the best Leica cameras.

I have a confession to make: I was wrong about the Leica M EV1.

Before I had the opportunity to use one, I made no secret of my concerns about Leica replacing the traditional optical rangefinder with a built-in electronic viewfinder. I worried that an M-System camera without a rangefinder might no longer feel like a proper M.

Worse still, I thought removing that beautifully-engineered mechanical system could leave the camera feeling strangely hollow, as though Leica had retained the familiar shell while removing part of its soul.

Well, after finally getting my hands on the Leica M EV1, I think it is time to serve myself a generous slice of humble pie. I was wrong. The Leica M EV1 absolutely is an M camera – and it might be precisely the kind of M camera that many photographers have been waiting for.

I have used every digital M camera the company has produced since the Leica M9, so I have watched Leica’s full-frame digital journey develop almost from the beginning.

I know where the modern M-System started, how it has evolved and, to some extent, where it might be going next. I have seen resolutions increase, batteries improve, screens become more useful and sensors become far more capable, but the basic M experience has always remained remarkably consistent.

That is why the M EV1 seemed like such a risk. The rangefinder is not merely another component inside an M camera. For many photographers, it is the defining component. Remove it and, on paper at least, you appear to remove the very thing that makes an M an M.

Except that is not what has happened.

The first surprise is how familiar the Leica M EV1 feels in the hands. It does not feel like an imitation of an M camera, nor does it feel like a Leica Q3 that has somehow been modified to accept interchangeable lenses. It feels like an M because, in almost every physical sense, that is exactly what it is.

In fact, I would go so far as to say that the M EV1 feels better balanced than the Leica M11-P. It sits beautifully in the hand and retains that reassuring sense of solidity that Leica does so well. Leica currently lists the M EV1 at approximately 495g with its battery, compared with 530g for the black M11-P.

That difference is noticeable, but it does not make the EV1 feel cheap or insubstantial. Attach a lens, and the camera's entire character changes. It becomes balanced, purposeful, and every bit as satisfying to hold as an M should be.

Whether I mounted a compact Summicron, a faster Summilux or something considerably larger, the camera maintained that sense of balance. I had worried that the reduced weight might make it feel like a paperweight with a heavy lens hanging from the front, but that simply was not the case. Once a lens is attached, the M EV1 feels complete.

Then we come to the most controversial part of the camera: the electronic viewfinder.

I have plenty of history of criticizing EVFs. I have argued that they cannot reproduce the clarity, depth and almost three-dimensional “pop” of an optical finder. I have found some electronic viewfinders slow, unresponsive and uncomfortable, and prolonged use has occasionally left me with eye strain or a headache.

The EVF inside the Leica M EV1 gave me none of those problems.

It activates incredibly quickly when I raise the camera to my eye, even when I have previously been composing via the rear screen. Movement looks natural, too. I did not experience that unpleasant, Jell-O-like effect where the image appears to smear or distort until the camera stops moving.

The 5.76-million-dot OLED finder refreshes at 60fps, offers 100% frame coverage and includes a sensor that automatically switches to and from the rear display. More importantly, it feels responsive in actual use rather than merely impressive on a specification sheet.

The ability to magnify the live image is also genuinely useful, particularly when working with some of my more unusual lenses.

Something like the Leitz 135mm Elmarit-M f/2.8 can be challenging to focus critically through a traditional rangefinder, but the M EV1 enables me to punch directly into the sensor image and confirm focus with far greater confidence.

That does not necessarily make the experience better than using an optical rangefinder, but it does make it different – and in certain situations, it is unquestionably easier. Long lenses, ultra-wides, close-focus designs and extremely fast glass all become more practical because you are seeing the image through the lens itself.

Quite frankly, after using the M EV1 properly, I struggled to find the major problem with its viewfinder that I had expected to encounter.

Even battery life has been excellent during my time with it, enabling me to concentrate on taking photographs rather than watching the remaining percentage disappear.

I particularly like what Leica has done with the traditional frameline selector. On a rangefinder-equipped M, that lever previews the different frameline pairs. On the M EV1, it can be configured to control focusing assistance and digital zoom.

With the camera I used, pushing the lever one way allowed me to toggle focus peaking, while moving it in the opposite direction activated the 1.3x or 1.8x digital crop. Those produce approximately 39MP and 18MP images, respectively, giving the old mechanical control a genuinely useful new purpose.

One complaint among some members of the Leica community is that this camera should not carry the M name at all. Without the rangefinder, the argument goes, Leica should have created an entirely separate product category.

From a marketing perspective, I understand that position. The M name has always been closely associated with rangefinder photography – and Leica buyers tend to care deeply about tradition.

But make no mistake: the M EV1 is an M-System camera through and through. It has the body, controls, sensor philosophy, manual focusing experience and direct connection to the catalog of M lenses. It simply places an EVF in front of your eye instead of a mechanical rangefinder.

That does not mean I have no complaints, though.

My first is the internal storage. The M EV1 provides 64GB, matching the original Leica M11, while the Leica M11-P offers a much more generous 256GB. In practice, 64GB is plenty for the way I shoot – and an SD card can always be inserted when more space is required.

Even so, considering where the M EV1 sits within Leica’s current lineup, I would have preferred to see the 256GB capacity carried across.

My second complaint could potentially be addressed through firmware. I frequently shoot DNG+JPEG, with the JPEG set to black-and-white. When that configuration is selected on the M EV1, both the LCD and EVF display the monochrome preview.

I would love the option to show the black-and-white preview on the rear screen while retaining a color image in the EVF. That would enable me to assess the monochrome interpretation when reviewing on the LCD, while the finder could provide a more natural, optical-style color view when the camera is raised to my eye.

It would be a small change, but one that could make the EV1 feel even closer to the traditional rangefinder experience.

Those are relatively minor complaints, however. The bigger question is whether replacing the optical rangefinder has taken away the spirit of the M-System.

No, it has not.

In some respects, I think the M EV1 strengthens the system. It creates a more accessible route into M photography for people who may be intimidated by rangefinder focusing. It also offers a natural next step for existing Q-series users who love the compact body, manual controls and EVF experience but want access to a wider range of lenses.

Would I buy one instead of my optical rangefinder-equipped Leica? Put it this way: if Leica releases the M EV1 in silver, the answer could very easily be yes.

I adore my Leica M Typ 240, and I am not ready to abandon the optical rangefinder. But when that camera eventually becomes too long in the tooth, the M EV1 may well be in my sights.

I have been genuinely blown away by how well its EVF performs and by how little the camera compromises the feeling of shooting with an M.

I thought removing the rangefinder would leave the Leica M EV1 feeling hollow. Instead, it has shown me that the soul of the M-System may not be contained in one mechanical component after all.

Perhaps it was hiding in the lenses, the proportions, the simplicity and the act of slowing down to focus for yourself.

Whatever it is, the M EV1 still has it.

Shop the Leica M EV1

It’s not often that a photojournalist rubs shoulders with major crime bosses and comes away unscathed. But that’s exactly what British photographer Jocelyn Bain Hogg did for four years, documenting some of the UK’s seediest characters during the late 1990s, culminating in his celebrated 2001 book, The Firm.

During this time, Bain Hogg somehow gained the trust of London’s most notorious criminals, including Freddie "Brown Bread" Foreman, a well-known enforcer connected to the Kray twins, and Joe Pyle, a central figure in the feared Pyle gang, who ran the city’s unlicensed boxing industry.

Now, over 20 years after its publication, The Firm returns to the limelight, but not as we know it. Until September 03, Leica Gallery London will display previously unseen images from the series, revealing more about the turn-of-the-century UK underworld.

“The reason the pictures resonate is because I never ever lied to them [the criminals]," Bain Hogg told Photography News.

“From the start I made it clear I didn’t want to photograph their own presentation – no posed pictures and no complicity. I soon realized that they actually enjoy being presented in this hard, real way”.

According to Photography News, the exhibition prints have been pulled straight from Bain Hogg’s “yellow and black Kodak boxes,” after decades collecting dust.

And with the cobwebs blown away, we see these gangsters in all aspects: from dysfunctional family life to how they carried out business and mourned the loss of criminal associates.

“Do not judge your subjects but be interested by them. Allow them to ‘speak’ through the pictures, never ever put yourself or your bias first,” said Bain Hogg.

Jocelyn Bain Hogg – The Firm is open Monday to Saturday from 10:00 to 18:00, running until September 02. For more information, visit the Leica Gallery London listing page.

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Leica’s latest Metal Gray cameras have officially arrived in the US, with preorders now open for both the Leica Q3 and the compact D-Lux 8. The Leica Q3 in Metal Gray is priced at $7,350, while the smaller and considerably more affordable Leica D-Lux 8 comes in at $1,915. Both cameras are currently available to preorder through B&H Photo, with listings also live at Adorama.

The Leica M11-P is also avaible to proroder from Adorama, B&H also have it on offer, but it has a delay between 2-4 weeks once purchasing.

Where to pre-order

These are not completely new cameras underneath, but rather stylish new versions of two existing Leica favorites. The Leica Q3 combines its metallic-gray body with contrasting black controls, while the distance and aperture scales on its fixed lens are engraved in red. The D-Lux 8 receives a similar treatment, with both the body and its FN buttons finished in metallic gray while the remaining controls stand out against a darker background.

The Leica Q3 remains one of the most desirable full-frame compact cameras currently available. It features a 60MP full-frame BSI sensor with selectable 60MP, 36MP and 18MP resolutions, paired with a fixed Summilux 28mm f/1.7 ASPH. lens. It also offers a hybrid autofocus system, optical image stabilization, a tilting display, a 5.76-million-dot OLED viewfinder, and video recording at up to 8K resolution.

In other words, this is still the same wonderfully capable Q3 that photographers already know, only now wearing what may be its smartest outfit yet. The metallic finish gives the camera a slightly more contemporary look without taking away from that unmistakable Leica identity, and the red lens engravings add just enough color to stop the design from becoming too understated.

The Leica D-Lux 8 is the more accessible option, although “accessible” remains a relative term when discussing a $1,915 compact camera. It uses a 17MP Four Thirds sensor alongside a Leica DC Vario-Summilux 10.9-34mm f/1.7-2.8 ASPH. Zoom lens, providing a versatile full-frame-equivalent range of 24-75mm. It also supports DNG raw files, 4K video recording, a 2.36-million-dot OLED electronic viewfinder and connectivity through the Leica FOTOS app.

B&H currently lists the Metal Gray Q3 as a new item coming soon, without providing a firm shipping date. The Metal Gray D-Lux 8 is also available to preorder, with the retailer estimating availability in mid-August 2026. Leica originally announced worldwide availability beginning July 16, although exact delivery dates will naturally depend on the retailer and the size of its initial allocation.

Neither camera offers anything dramatically different from its standard black counterpart when it comes to image quality or performance, but that is not really the point. Leica has always understood that a camera can be both a photographic tool and a beautifully designed object, and the new Metal Gray Q3 and D-Lux 8 may be among the best-looking examples of that philosophy yet.

Leica has unveiled the 12 photographers shortlisted for its 2026 Oskar Barnack Award (LOBA), one of photography's longest-running and most generously funded prizes. And while all the work is predictably excellent, I have to admit: I found initially skimming the list a little disorienting.

Saher Alghorra's Witnessing Gaza documents a war in its full brutality: scarcity, starvation, violence, loss. A few names down the alphabetical list sits Todd Antony's black-and-white study of buzkashi, the Central Asian sport in which horsemen fight over a headless goat carcass.

Both are, by any reasonable definition, excellent photography. Both are also competing for the same prize, judged against the same criteria, on the same afternoon in October. That's not really Leica's fault; it's baked into pretty much every major photography award. But it's still worth thinking about, I think.

LOBA's mission

LOBA aims to recognize photographers who capture the relationship between people and their environment, which is a pretty broad remit. But there's no escaping the fact that breadth has a cost.

When Alghorra's series sits on the same shortlist as Antony's, or as Laila AnnMarie Stevens's tender Clayton Sisterhood Project about her own family building a life in North Carolina, the jury isn't just comparing photographs; it's comparing categories of human experience.

Is a perfectly composed, technically daring image of a goat-wrestling contest "better" or "worse" than a raw, urgent image from inside a warzone? That question is near-impossible to answer, and yet five judges are going to have to answer some version of it anyway.

Conflict and crisis

This year's list makes the tension unusually visible because it leans so heavily toward conflict and crisis.

Valery Melnikov's Mariupol: Open Wounds returns to the aftermath of the 2022 siege of the Ukrainian city. Anush Babajanyan documents the Aral Sea's collapse and the communities adapting around it.

Set against that, gentler work like William Keo's Extramuros, a study of French banlieue youth, or David Sládek's two-decade portrait of one Slovakian village, risk looking slight… even when they aren't.

Again, this isn't an issue unique to LOBA. World Press Photo, the Sony World Photography Awards, Prix Pictet – practically every major contest with a general remit has the same structural issue.

Interestingly, the newly launched Women in Photography Grant avoids it entirely, at least for its first year, by judging a project proposal rather than a finished body of work – there's nothing yet to weigh against anything else.

That winner will be announced alongside the Main Prize and Newcomer Award on October 08 at a ceremony at the World of Leica in Wetzlar, with all 12 shortlisted series going on show afterwards at the Ernst Leitz Museum until February 04 2027.

Ultimately, whomever wins the Main Prize this October, the real result of this shortlist may simply be a useful, uncomfortable reminder.

Photography contests aren't judging photographs in isolation. They're judging what we, collectively, think photography is for in the first place.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from July 2026 to January 2027. And check out the best Leica cameras along with the best Leica M lenses for rangefinders and the best Leica SL lenses for mirrorless bodies.

The Leica SL3-P is the third full-frame mirrorless camera in the SL3 range – so what does it offer that its relatively recent siblings don't? In short, it tries to outperform both of them, with a set of specifications that make it the first can-shoot-anything camera that Leica has ever produced.

It comes with a new speed of AI-assisted autofocus and burst rate that puts it right up there in contention with the likes of Canon, Nikon, and Sony. It is also the most video-centric camera that Leica has ever produced – with 8K RAW open gate video shooting being the headline feature that outguns some of its better-known hybrid rivals.

In terms of resolution, it takes a middle ground between the existing Leica SL3 and SL3-S – offering a BSI sensor with a 44MP resolution (compared to the 60MP and 24MP of its siblings). It is a sensor that we believe has been used on the Panasonic S1R II, which offers a similar specification, but with some significant differences.

But what does this camera actually deliver? We have extensively field tested it and put it through our lab to find out…

Leica SL3-P: Specifications

Price

The Leica SL3-P is now on sale at $6,690 / £5,150 / AU$10,500 for the body on its own.

Three kit versions of the camera are also available with a choice of either one or two zooms from Leica's SL lens range:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH. - $7,790 / £6,100 / AU$12,600
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. - $8,390 / £6,480 / AU$13,500
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. - $10,995 / £8,560 / AU$17,600

It is not a cheap camera – but given its specification and the usual luxury price tags you expect from Leica, one of our team commented that it was not as expensive as she thought it would be. There are certainly hybrid mirrorless cameras from Japanese manufacturers that cost as much.

In terms of Leica's own range of full-frame mirrorless cameras, it is priced to sit in the middle. The lower-resolution SL3-S body costs $5,665 / £4,500 / AU$9,300 and the 60MP SL3 body is priced at $7,485 / £5,920 / AU$12,500 – compared to these, the SL3-P certainly looks like by far the best value for your money.

Leica SL3-P: Design & Handling

Curiously, the Leica SL3-P makes do without the iconic red dot Leica logo on its front – giving it a visual distinction from the SL3 and SL3-S, which, from the outside, look almost exactly the same as the new model.

The three all-metal bodies share the same size, weight, LCD screen, viewfinder, monochrome status panel, twin card slots, battery and more – so having this as a distinguishing mark for this new poster boy of the Leica range makes some sort of sense.

However, the "P" designation has historically been used for stealth, less-branded versions of existing models (such as the M11-P). However, the SL3-P is much more than a minor, cosmetic update of an existing model.

Sure, the minimalism continues on the camera itself. Only four of the buttons or dials on the SL3-P have any type of label to suggest their purpose - and that's the Play, Function, Power and Menu buttons on the rear. This, however, is exactly the same as found on the SL3 and SL3-S.

The simplicity, of course, means you are given the ability to customize practically every button and input to the way you want to use the camera – although these choices do run the risk that you will end up with your camera being harder to use rather than easier, if you don't know what you are doing (and harder to pass to someone else to use).

Leica has worked hard on the UX of the camera, however, and the menu system takes a subtle, monochrome approach to the layout which keeps everything looking impressively clean as you scroll through the options.

There are some clever implementations - such as being able to toggle quickly between video and photo options. Also, as you toggle between video settings, for instance, it gives you a headline number of options you have with that setting – so as you select 8K settings, the unavailable options simply aren't shown.

Again, this is a boon when you know what you are doing and what is available - but not necessarily helpful for the first-time user.

One thing I love is the big diopter control for the electronic viewfinder – its mechanical dial isn't fiddly to use in the way that eyesight adjustment is on other models, and you can even see where it is set (so you can quickly set it to where you need it if you lend your camera to someone else).

Another big plus point is the app. I get rather tired of camera apps that are not reliable and difficult to use. Leica has obviously spent a lot of time getting Fotos so that it looks good and works without any fuss.

I was impressed at the speed at which I was able to set up the SL3-P with the app, and download images that I had taken, and review the settings I had used

Leica SL3-P: Performance

I shot some 3,500 photos with the SL3-P. shooting in a range of different shooting scenarios, including street portraits, studio fashion, garden flowers, travel and motorsport. It gave me a thorough chance to put the camera through its paces.

I was impressed with the improvements to the autofocus system. With portraits and motorsports, in particular, providing strong proof that the AI detection options work well – with eyes being reliably in focus, and 150mph racing cars looking sharp in every frame.

There are only six AF detection modes to choose from, two each for people, cars and animals – so not as many options as with some rival cameras (there are no options for planes or insects, for instance).

I was also able to test out the camera's remarkable 40fps burst mode on the Nurburgring track. This worked well - but was perhaps overkill for the subject in hand, as the movement through the frame is not as great as the track speeds suggest.

Part of the issue here is with the buffer. The maximum frames it can shoot at 40fps which is just 70 RAW files - so just over 1.5 seconds' worth, which is not enough time for the vehicles to enter the frame and pass you. In this instance, a 15fps setting would have been more appropriate - but even then I would still have only got 70 frames before the buffer filled up.

The most impressive part of the camera is the quality of the images... It could be the color science, or a secret sauce created between the way the DNG RAW files are handled and the SL lenses – but the image looked much better straight out of camera than I would have expected. That's a quality that we should all be willing to invest more money in than most of us actually do.

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

This review does not do a deep dive into the video performance of the SL3-P, but the video clips shows the performance and in particular shows the excellent stabization that the camera can provide when using heavy zoom lenses with it (the SL 24-90mm and 90-280mm).

It is worth noting that the SL3-P combines two seemingly incompatible features – open gate and weatherproofing.

The IP54 water protection rating is unusual for system cameras (of its rivals, only OM System offers this). But shooting 8K open gate means that the camera is more likely to overheat – and the standard solution for this would be big vents to help the cooling.

It is extremely impressive that we get both in the same camera. Leica quotes typical recording times at 25°C for 8K/30 fps as approximately 20 minutes (25mins for 6K/30 fps, and 30mins with 4K/30 fps).

Although Open Gate recording is impressive, it is limited to shooting at 24p – and if you want to shoot RAW open gate you need to use an external recorder. Nonetheless, the video specs are impressive for a manufacturer that has always been photo-first.

Leica SL3-P: Lab results

We compared the SL3-P to its older brother the Leica SL3-S, as well as to its cousin the Panasonic S1R II in our standard lab tests. Into the mix, we've also thrown in the popular Canon EOS R5 Mark II – which has a similar resolution and specification.

We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.

Signal to Noise Ratio

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Signal to Noise Ratio Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	41.46	44.64	43.48	46.75
2	38.03	42.08	39.59	43.47
3	36.5	39.06	36.94	41.24
4	34.29	36.17	33.8	38.6
5	31.05	33.63	31.3	35.6
6	27.51	30.66	28.26	32.84
7	24.01	28.38	26.57	30.11
8	21.39	25.37	23.3	27.61
9	17.89	22.21	20.18	24.64

Dynamic Range

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Dynamic Range Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	12.3	12.82	12.54	12.49
2	12.31	12.82	12.25	12.4
3	12.01	12.46	12.23	12.47
4	12.12	12.46	12.25	12.47
5	11.16	12.07	11.78	12.48
6	9.95	11.26	10.91	12.29
7	8.95	10.62	10.47	11.71
8	7.98	9.76	9.49	10.88
9	7.01	8.95	8.8	10.06

Resolution

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Resolution Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	39	34	40	28
2	39	34	40	28
3	39	34	40	28
4	39	34	40	28
5	39	34	40	28
6	38	34	40	28
7	38	32	38	28
8	35	30	35	26
9	32	28	33	26

The SL3-P performs better in terms of dynamic range and signal-to-noise ratio when compared to the other two 45MP cameras, but can not quite compete with the SL3-S with its larger-sized photo sites.

Despite the new Leica performing better than its cousin the Lumix S1R II in these two tests, the Panasonic does provide a higher resolution across the ISO range.

Verdict

There is a lot to like about the Leica SL3-P. Part of its appeal should be the way that Leica has not changed everything, but simply upgraded major internal components to bring us the latest and greatest member of the SL3 family.

I also salute the way in which Leica – a small player in the global mirrorless market – has successfully collaborated with other companies.

The L-mount Alliance means that there is a great range of lenses available for the camera – even if the SL range itself is relatively small. It also has obviously worked with Panasonic on the source of the sensor, to ensure that the camera can be produced profitably.

But there are smaller cooperations embedded in the camera to. It is Leica's latest C2PA camera – enabling you to add content credentials to your files so that you can prove they are not created with AI. It supports Frame.io for cloud collaboration on work projects – and offers in-body de-squeeze when used with Sirui anamorphic lenses.

What I particularly loved about the camera was the photos that it delivered. I think there are three ways to fall in love with a camera. The first is the specifications and looks. The second is in terms of the way it feels in your hands and its general ergonomics. The third is in terms of the results that it delivers. It is the last of these that is the most persuasive for picking the SL3-P.

Alternatives

Check out our full guide to the best full-frame mirrorless cameras

Leica has made some wild special-edition cameras over the years, but few are more striking than this gold-plated Lecia M6. This example that’s come to auction is one of only 350 units in the world and comes with an eye-watering starting price of $20,000. The eagle-eyed among you will notice that the camera, listed via online auction marketplace LiveAuctioneers, is entitled "Gold Leica Saltan of Burnie M6 Camera with Summilux lens".

This listing should presumably read ‘Sultan of Brunei’, referring to a very limited run of 24-carat gold-plated Leica M6’s produced in celebration of the Sultan of Brunei’s silver jubilee. It comes with a matching Summilux 50mm f/1.4 lens and a wooden presentation box. The estimate is a whopping $25,000 to $35,000.

It’s certainly not the first time one of these cameras has come up for sale. I’ve found two similar listings at Photographica Auction, where a 1992 piece was listed but unsold and a 1994 piece went under the hammer for €31,200 (approx $35,700 / £27,000). The latter was a slightly later run that featured a 35mm lens, released in celebration of the Sultan’s 50th birthday and limited to only 125 pieces.

It would seem that the camera in the LiveAuctioneers listing has gone to market before. I can see from the images that the serial number is HB-178, the same serial number present on a lot listed by Flints Auctions. Personally, I’m confused as to why the listing doesn’t feature more information, given that I was able to source almost all of the information from elsewhere. Add with the typo, I definitely wouldn’t feel comfortable bidding unless I could find out more about the item, first. Then again, finding out more is standard practice; a $35,000 camera isn't exactly an impulse buy...

Regardless, this is an undeniably cool find. And one of the most striking Leica cameras I think I’ve ever seen, and with the legendary German manufacturer’s penchant for dazzling special editions, that’s saying something!

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Compact cameras are enjoying a huge resurgence, but the Canon PowerShot SX740 HS never really went away. Since launching in July 2018, Canon’s travel zoom has remained one of the brand’s most sought-after compact cameras, proving its popularity isn’t simply driven by today’s retro camera boom.

In 2024, Canon introduced the PowerShot SX740 HS Lite, a lightly updated version of the original camera. Despite changing just one small feature, the model has proven just as popular, recently claiming the No.1 spot in Yodobashi’s latest sales rankings in Japan.

While manufacturers often use refreshed models to introduce hardware upgrades, the PowerShot SX740 HS Lite remains almost identical to the original camera released seven years ago. That unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

Yodobashi's top selling compacts, 1st half June 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
4. Canon PowerShot G7 X Mark III | Black | Silver
5. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
6. Fujifilm X100VI | Silver | Black
7. Kodak Pixpro C1 | Brown | Black
8. Panasonic Lumix TZ99 / ZS99 | Black | White
9. Leica Q3 43
10. Sony RX100 VII

Why the PowerShot SX740 HS Lite is high in demand

Remarkable capable yet genuinely pocketable, the PowerShot SX740 HS Lite stays true to what compact travel cameras have always done best. It combines a 20.3MP 1/2.3-inch-type CMOS sensor with a body that’s small enough to slip into a jacket pocket.

Its standout feature remains the impressive 40x zoom lens, covering an equivalent focal range of 24-960mm – giving reach smartphones can’t match.

That reach is the camera’s defining strength, making it an excellent choice for travel, wildlife and everyday photography.

Lite vs original

Canon made just one notable change to the Lite edition: it removes USB charging.

The change comes after Europe introduced USB-C charging requirements for many electronic devices. Canon has not said whether the decision to remove USB charging was related to those rules.

There’s no larger sensor, longer zoom or new shooting modes – just the same travel-zoom formula that has remained popular for nearly a decade.

Panasonic's brief time at the top is over

Just a few weeks ago, Panasonic’s newly launched Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK) reached No.1 in Yodobashi’s rankings shortly after its release.

But the latest rankings see the PowerShot SX740 HS Lite reclaim the top spot, while Sony’s ZV-1 II creator camera also moved ahead of Panasonic’s travel zoom.

Interestingly, Panasonic’s premium L10 doesn’t appear anywhere in the current Top 10, despite attracting attention ahead of launch thanks to its larger sensor and stronger stills and video capabilities.

For now, photographers in Japan prioritize portability, long zoom ranges and proven models over newer premium alternatives.

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Leica has officially unveiled the brand-new SL3-P, and it is already shaping up to be one of the most exciting and capable full-frame cameras the company has produced.

Designed for professional photographers and filmmakers who need speed, resolution and reliability in a single body, the SL3-P combines a new 44MP full-frame sensor with Leica’s most advanced hybrid autofocus system to date. It can shoot continuously at up to 40fps with autofocus, capture 176MP images using its Multishot mode and record 8K open-gate video, making it a serious all-rounder for everything from sports and documentary work to portraits, commercial photography and high-end filmmaking.

For anyone hoping to get their hands on one, you are in the right place. Below, I have gathered the best places to buy the Leica SL3-P from retailers across both the US and the UK.

The Leica SL3-P is priced at $6,690 in the US and £5,150 in the UK for the body only. It is available now through Leica Stores, Leica’s online store and authorized retailers, following its official release on June 25, 2026.

Where to pre-order?

At the heart of the Leica SL3-P is a newly developed 44MP back-illuminated full-frame CMOS sensor, without a low-pass filter, which feels like a very deliberate middle ground between outright resolution and the speed demanded by professional photographers.

That already puts it in an interesting position within Leica’s SL range. Rather than chasing the enormous files produced by the 60MP Leica SL3, the SL3-P offers 44MP and 26MP recording options, up to 14 stops of dynamic range, and an ISO range extending from 50 to 200,000. The result should be detailed files with plenty of flexibility, refined tonal gradation, and the sort of natural color rendering photographers expect from Leica.

When maximum resolution is required, the camera’s Multishot mode can produce enormous 176MP images. That will naturally be best suited to more controlled subjects, but for studio, architecture, product, and landscape photographers, it offers another level of detail without requiring a separate high-resolution camera.

Autofocus and speed are arguably the real headlines here. The SL3-P introduces an improved hybrid autofocus system that combines phase detection, contrast detection and depth mapping, with 819 phase-detection points spread across the frame.

Machine-learning-based subject recognition can identify people, animals, and vehicles, while continuous shooting reaches an impressive 40fps with continuous autofocus. That is a significant leap for the SL-System and immediately makes the SL3-P feel far better prepared for sports, wildlife, events, and documentary work where the moment will not wait for the camera to catch up.

Five-axis in-body image stabilization provides up to five stops of compensation, which should make handheld shooting more dependable when working in lower light, with longer lenses or at slower shutter speeds. Combined with the expanded ISO range, this feels like a camera designed to keep working when conditions become less than perfect.

The body design is also a major part of the appeal. Manufactured in Germany, the SL3-P uses a robust full-metal construction with IP54 protection against dust and water splashes. It is unmistakably a Leica, but the presentation is deliberately restrained, with black controls and no red Leica badge on the front.

That more discreet appearance suits the camera perfectly. The SL3-P is not trying to look like a special edition or collector’s piece; it looks like a serious professional tool designed to be used every day, whether that means working in a studio, covering an event or standing beside a racetrack in difficult weather.

Leica has also placed a strong emphasis on making the camera adaptable to the photographer using it. The controls, dials and on-screen Control Centre can be customized, while photo and video modes are clearly separated using Leica’s red and yellow color coding. The interface also rotates automatically when the camera is held vertically, helping settings remain clear and easy to read regardless of how you are shooting.

Composition is handled through a 5.76-million-dot OLED electronic viewfinder, which can operate at up to 120fps, alongside a 3.2-inch tilting touchscreen with 2.33 million dots. There is also a top status display for quickly checking essential settings without needing to look through the viewfinder or open the main menu.

For anyone working with fast bursts or demanding video formats, the SL3-P includes both a CFexpress Type B slot and an SD UHS-II card slot. That combination gives professionals the speed needed for high-data-rate recording, while retaining the convenience and wider compatibility of standard SD cards.

There is a serious amount of video capability here, too. The SL3-P can record up to 8K in an open-gate 3:2 format, using more of the sensor and giving filmmakers far greater freedom to produce horizontal, vertical, or square versions from the same footage.

It can also capture 5.9K video at up to 60p and 4K slow motion at up to 120p, with internal Apple ProRes recording available at up to 5.8K. Support for L-Log, HLG, Leica Pure and Leica Cine LUTs, False Color, anamorphic desqueeze and HDMI RAW output makes it clear that this is not simply a stills camera with a video mode added as an afterthought.

Professional workflow features have not been overlooked, either. Native tethering is available for Capture One and Adobe Lightroom Classic, while Adobe Frame.io Camera-to-Cloud support allows images and video to be transferred directly into a production workflow. Leica Content Credentials can also attach secure authorship and origin information to images, which feels increasingly important as photographers look for ways to distinguish authentic work from generated or manipulated content.

In a market filled with cameras that tend to prioritize either speed, resolution, or video, the Leica SL3-P looks like a remarkably well-judged combination of all three. It is fast enough for serious action, detailed enough for demanding commercial work, and equipped with the video tools needed for modern hybrid productions.

More importantly, it still feels like a Leica: beautifully restrained, built to withstand professional use and designed around controls that should encourage photographers to concentrate on the image rather than the camera. The SL3-P may not be the cheapest professional hybrid camera available, but it could prove to be the most complete and convincing SL camera Leica has made so far.

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This year is the 40th anniversary of the Fujifilm QuickSnap, called the Utsurun-Desu in Japan (which translates as “It takes pictures”). The QuickSnap was introduced in 1986 as a “disposable” camera – though the term was quickly changed to “single-use” for a better public image.

The QuickSnap is credited with being the first camera in what became a huge success story. It was an amazing success, but was it really the first single-use camera? Not quite.

Back in 1886, an American, AP Whittell, created his Ready Fotografer – a lightweight pinhole camera that used a heavy paper box and a roughly 2x2-inch dry plate. The camera had to be cut open to remove the plate for development, rendering it unusable after one shot.

Although it sold for just 25 cents, at a time when regular cameras cost $50, it was an idea before its time and disappeared after just a couple of years.

Things stayed pretty quiet until 1948, which saw the Picture-Box – a cardboard camera that featured a simple lens, an everset shutter (around 1/25 second) and a method to wind the 35mm film. When done, the photographer mailed the camera back to have the film developed and prints made.

The cardboard camera was destroyed in the process, so very few remain today.

ABOVE: Watch this vintage commercial for the Kodak Fling from 1987!

The next year, another American, HM Stiles, invented a way to enclose 35mm film in an inexpensive cardboard enclosure without the costly precision film-transport mechanism. The Photo-Pac took 8 photos on 35mm film and sold for $1.29, including a prepaid mailer for developing and prints. The instructions read: “Aim – Snap – Mail.”

It was more durable than the Picture-Box, as it used some plastic parts, though exactly which bits are unclear today. It too was a bit before its time and, like the PictureBox, the Photo-Pac failed to make a permanent impression on the market.

The Encore Camera Company, in California, made upscale disposable cameras. Rather than bright colors and graphics, the cardboard casings of the various Encore Cameras were designed to mimic leather or lizard skin.

Introduced around 1950, these snap-and-mail disposables took 12 exposures on 127 film and were used by banks and airlines, as premium incentives. Users would insert $1.25 into a slot in the camera’s bottom, along with a 6-cent stamp and a mailing label with their address for the return trip, and mail it away for prints.

The company would then develop the film and return the prints, often recycling the lens and shutter mechanisms into new cameras. Exact dates are not clear, but Encore and its camera were gone by the end of the decade.

In 1951, the IMP camera was a plastic, single-use camera priced at $1.79, pre-loaded with 12 exposures of 35mm film. Like those before it, it offered low-cost simplicity. It was followed by The Pro, which sold for $3 plus a $1 processing fee. And in the early 1970s, the Mini-Mate became the first disposable camera offered with color film!

But the IMP's big innovation was that, while the camera was disposable for the user (and mailed back for processing), the plastic body was actually reusable. The company could reclaim, reload and resell the body, making it an early form of recycling.

In 1972 Technicolor Inc threw its hat into the ring, introducing the “returnable” Techni-Pak camera in 1972. Made in Hong Kong, the Techni-Pak was the first disposable to feature variable exposure stops. The focus-free, 35 mm camera took 20 color photographs and included aperture settings for “bright” and “cloudy”.

Designed so that only Technicolor agents could open the cameras, they were reusable. A reloaded Techni-Pak was returned to users with their printed photographs and the system lasted into the mid-1980s.

In 1973, a Canadian company introduced the 16mm color Lure, which was sold in the United States as the Love. Offering 12 exposures, the Love included a mount for Magicube flashbulbs and users advanced the film in the camera by rotating the mount.

Although a contemporary of the Techni-Pak, the Love was not built with reusability in mind; in order for the film to be processed, the camera had to be “cracked open like a walnut.”

Sales of the Love camera (sold in the USA, Canada, United Kingdom and Italy) dried up by the late 1970s. The design was sold to a Brazilian firm in 1981 and disappeared altogether in the middle of the decade.

The problem for all these makers was that “disposables” were a niche market without a big name like Kodak, Fujifilm, Ilford or Agfa. But that would all change in 1986.

It was then that Fujifilm introduced its QuickSnap line. The QuickSnap is the first truly successful “disposable” or "single-use" camera. Loaded with 27 exposures of Fujifilm's Superia color film, it became immensely popular throughout the 1990s and 2000s, with Japanese sales peaking at over 89 million units in 1997.

Kodak responded the next year with its Fling, but the smaller format of its 16mm film meant lower-quality images (especially in enlargements) than Fuji's offerings, which used the larger 35mm film. Thus, within a year, the Fling was flung and replaced in 1988 with the Kodak FunSaver, still sold today.

Despite being made largely obsolete by the rise of camera phones, both the QuickSnap and the Funsaver have survived the digital transition.

Sales declined to less than 5 million annually by 2012 but rebounded to over 9 million in 2019, cementing its status as a staple for weddings, travel and retro-style photography. It’s estimated that in 2025 single-use camera sales reached $1.02 billion globally.

So they’re not going away any time soon. And even the FLing lives on, spiritually, as the inspiration for the Kodak Charmera's most popular design!

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH -  $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. -  $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. -  $10,995 / £8,560

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I put this together while working on my full Leica SL3-P review. This 45 megapixel camera offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

Over 10 years since introducing the L-mount, Leica has finally launched its first macro lens for its SL range of mirrorless cameras. The Leica APO-Macro-Elmarit-SL 100mm f/2.8 will be available to buy by the end of the year.

With a design based on the Leica APO-Macro-Elmarit-R 100mm f/2.8 that was launched for its DSLRs in 1987, the new macro lens will offer a lifesize magnification and a minimum focusing distance of 29cm. The full-metal body is 137.6mm long and weighs 862g, without the supplied lens hood.

Announced at the same time as the new Leica SL-3P camera, the macro lens will not go on sale until the end of 2026, and will retail for $2,700 / £2,100.

Despite the wait for its release, I managed to have a brief chance to try out the new Leica APO-Macro-Elmarit-SL 100mm f/2.8 during a studio session with fashion photographer Pat Domingo at Leica's Wetzlar HQ in Germany.

The photos I shot are below, with full technical details…

Check out our guides to the best macro lenses, and the best Leica SL lenses

Launched alongside the new Leica SL3-P camera, the Leica Summilux-SL 50mm f/1.4 ASPH claims to be the world's most compact 50mm f/1.4 autofocus lens. At just 75.5mm long and with a diameter of 74mm, it is a substantial shrinking of the original Leica 50mm f/1.4 SL lens launched back in 2016.

In 2023, Leica introduced a smaller version of its Summicron-SL 50mm f/2 ASPH. Now the shrinking process has been applied to the 50mm f/1.4 – and remarkably, it is even smaller than the latest 50mm f/2.

Weighing in at 584g, the Leica Summilux-SL 50mm f/1.4 ASPH can't claim to be the world's lightest full-frame 50mm f/1.4 AF lens, however – but nonetheless this is a remarkable technological achievement for the pioneer of the L-mount lens system. Using state-of-the-art manufacturing processes, the lens uses 11 aperture blades and two aspherical lens elements and promises "high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh."

The new Leica Summilux-SL 50mm f/1.4 ASPH will not go on sale until the end of 2026, but has an anticipated price tag of $4,950 / £3,890.

Despite the delay until its availability, we managed to have a brief session using it at the launch event in and around Leica's German headquarters, using it on the new Leica SL3-P.

Check out our guide to the best Leica SL lenses, and to the best L-mount lenses overall

Who’s on first? With apologies to Abbott and Costello, when it comes to autofocus SLRs, it gets a little convoluted – for the company that was first, was also the company that was last.

Ernst Leitz Company (now known simply as Leica) had been quietly working on autofocus technology since the late 1950s, and received its first patent in 1960.

At the 1976 Photokina, it made the world’s first demonstration of a working autofocus system built into a Leicaflex SL2 body. At that stage, it was more of a focus confirmation system; the photographer focused manually, while watching two LEDs visible in the top of the finder. Both were lit when in perfect focus.

Leica showed improved versions at the 1978 Photokina and a further improved one at the Minneapolis convention of the Leica Historical Association of America (now known as the International Leica Society) in 1980. This iteration was built into a Leica R4-Mot body and had a servo-motor-driven Summilux lens, for true autofocus.

Despite its innovations, however, Leica never commercialized its Correfot system. It seems that Leica viewed itself as catering to skilled photographers who preferred manual focusing.

It believed that the early AF mechanisms compromised the "precise focusing" made possible by the renowned lens mounts (accurate to 1/100mm). And at that stage of autofocus development, it may have been right.

It’s not clear if Leitz sold or simply gave its patents to Minolta, under a technical cooperation agreement between the two firms that ran from 1972 to 1997. Either way, Leica did not bring out an autofocus SLR until its medium format S2 in 2008.

While the Konica C35 AF of 1977 was the very first AF camera (using patents licensed from Honeywell), it was Leica’s Correfot technology that enabled Minolta to build the first truly successful SLR with autofocus in 1985.

It was sold as the Minolta 7000 AF in most of the world, and as the Minolta Maxxum in North America.

Curiously, the Maxxum 7000 was considered "advanced" because it placed the focus motor in the camera body. Earlier efforts by Leica, Pentax and others all used motors built into or attached to the lenses, making them both heavy and bulky (for example, the Pentax ME-F of 1981).

Ironically, the best modern AF cameras now have the motors built into the lenses – but then these newer motors are much, much smaller.

The Maxxum 7000 was the first 35mm with automated film handling, as it loaded the film, sensed the film speed, advanced the film and then rewound it, all under motor control. Power was supplied by four AAA batteries housed in the large grip.

The Maxxum 7000 was also the first SLR to have the body made entirely of plastic. The 7000’s body is light, but doesn’t feel cheap – its tough, almost unbreakable ABS gives it the advantage of reduced weight while avoiding any feel of flimsiness.

Over 40 years on, though, that old ABS plastic can turn yellow from UV exposure. The result is that Minolta’s white often appears beige.

The Maxxum 7000 was also the first camera to use Minolta’s new, larger A-mount, as its earlier SR/MC/MD mounts could not handle the needs of AF. This mount was used on Sony’s A-mount cameras produced between 2006 and 2020, and many of the old Minolta A-mount lenses will still work on them.

In 1987, Honeywell sued Minolta claiming that the Maxxum autofocus system infringed Honeywell's patents. Though mostly based on the Leica patents, in 1992 a jury found that Minolta had infringed on two of the Honeywell patents and awarded some $96 million in damages. Minolta also received a license to continue to use the Honeywell technology.

That crippling financial blow was one of the reasons that eventually led to Minolta merging with Konica in 2003.

In 2004, the new Konica-Minolta company introduced its Maxxum 5D and 7D cameras (sold as the “Dynax” outside the USA and the “A-7” in Japan), the first SLRs with sensor-shifting in-body image stabilization (IBIS), which it called “anti-shake.”

This had the advantage that the purchaser bought the system once, with the body, rather than re-buying the IS system with each lens.

Pentax would follow suit in 2006 and Olympus in 2007. All three firms adopted the IBIS system, in part because they had the engineering knowhow – but to a greater degree because they did not have any image-stabilized lenses and thus had no reason not to.

However, the 5D and 7D were the only DSLRs to bear the Konica-Minolta name before it sold the camera business to Sony and left the industry in 2006.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Take a look at the best Leica cameras and the best Sony cameras today.

Rare Leica cameras have once again commanded extraordinary prices at auction, with a black-paint Leica MP-33 selling for €600,000, or approximately $696,000, during Leitz Photographica Auction 48 in Wetzlar, Germany.

Held at the World of Leica on June 13, the auction brought together some of the rarest and most historically important Leica cameras in existence. While the MP-33 was the headline lot, it was far from the only camera to achieve a staggering result.

Produced in 1957, the Leica MP-33 is one of just 402 original M Professional cameras ever made, with only 141 finished in black paint. The model was developed following requests from prominent American press photographers, including Alfred Eisenstaedt and David Douglas Duncan, who wanted an M-series camera capable of being used with the Leicavit rapid winder.

The example sold at auction was originally delivered to Brandt in Sweden on July 29, 1957. It came with a matching black-paint Leicavit and a brass-mount Summicron 50mm f/2 lens, helping it reach a final price of €600,000 (approximately $696,000) including the buyer’s premium.

Another major result came from the Leica Ig prototype carrying the wonderfully distinctive serial number 750000. Produced around 1953, the experimental screw-mount camera combines design and construction elements from the Leica Ic, If, and Ig, including an unusual raised flash platform. It ultimately sold for €540,000 - roughly $627,000.

However, the biggest surprise of the auction was a black-paint Leica IIIb from 1938. Leica IIIb cameras are normally found in chrome, but Leica’s archives show that only five black-paint examples were produced and shipped to New York. Estimated at between €32,000 and €36,000, around $37,000 to $42,000, the camera eventually sold for an incredible €312,000 ( $362,000)

It was not only Leica’s earliest cameras attracting attention. A Leica MP 10323 Meister Edition Berlin outfit from 2017, one of only 10 produced, sold for €132,000, approximately $153,000. Its original estimate had been just €26,000 to €30,000, or roughly $30,000 to $35,000.

The Leica M6 Black Paint Leitz Auction Set also demonstrated the growing demand for modern limited editions. Originally released in 2023 for €25,980, around $30,000, the set sold for €48,000, approximately $56,000. Meanwhile, the Leica M Edition 70 achieved €36,000, or around $42,000, comfortably exceeding its original €22,500 retail price.

A bright-green prototype of the Leica M10-P Safari was also sold as a charity lot. Engraved P08/08 beneath its base plate, the prototype achieved €16,000, approximately $18,600, with the full proceeds going to the Austrian charity Licht ins Dunkel.

These prices may appear astonishing, but they show that enthusiasm for rare Leica cameras remains incredibly strong. What is particularly interesting is that collectors are no longer concentrating solely on historic models; recent limited editions and prototypes are rapidly becoming serious collector’s pieces in their own right.

Leitz Photographica Auction will return later this year, with its Perspectives photography auction taking place in Vienna on October 9, followed by Leitz Photographica Auction 49 at Leica Welt in Wetzlar on November 28.

The Leica 21mm Summilux-M f/1.4 ASPH is not just another wide-angle lens in the M system; it is one of Leica’s most ambitious pieces of glass. Combining an ultra-wide 21mm field of view with a fast f/1.4 aperture, it offers a rare mix of dramatic perspective, low-light capability, and shallow depth of field that few lenses of this type can match.

On paper, it is a specialist lens, but in use it quickly becomes something far more versatile, opening up creative possibilities for documentary work, travel, interiors, environmental portraits, and available-light photography.

For Leica M photographers, the 21mm Summilux sits in a unique position. It is wider than the classic 28mm and 35mm focal lengths many rangefinder users gravitate toward, yet it retains the character and speed expected from the Summilux name.

It is a lens designed for photographers who want to step closer, include more of the world around their subject, and create images with a sense of space, atmosphere, and depth. In this review, I take a closer look at how it handles, how it performs, and whether this remarkable wide-angle Summilux still justifies its place in the Leica lineup.

Leica 21mm Summilux-M f/1.4 Asph: Specifications

Mount: Leica M-mount
Full frame: Yes
Autofocus: No
Image stabilization: No
Angle of view: 92°
Minimum aperture: f/1.4
Minimum focusing distance: 2.3 ft / 70cm
Maximum reproduction ratio: 1:29
Dimensions: 2.7 x 2.6 in / 69.5 x 66mm
Weight: 1.3 lb / 580g

Leica 21mm Summilux-M f/1.4 Asph: Build and Handling

The Leica 21mm Summilux-M f/1.4 ASPH is everything you would expect from a premium Leica M lens. It is solid, beautifully finished and has the kind of engineering feel that reminds you exactly why Leica lenses are held in such high regard. It feels like a proper piece of photographic equipment rather than just another lens, and there is a real sense that this is something designed to be used, treasured and kept for decades.

In the hand, the lens feels reassuringly substantial without becoming unmanageable. The focus ring is wonderfully smooth, with a short and precise focus throw that makes manual focusing feel intuitive and rewarding. The aperture ring is equally satisfying, clicking into place with a snappy, mechanical confidence. Everything about the main construction of this lens feels considered, premium and deeply sophisticated.

However, there are a few handling points worth mentioning. Because this is a 21mm lens, you do not get automatic frameline detection in the same way you would when mounting a 28mm, 35mm or 50mm lens on a Leica M camera. The widest framelines shown by modern Leica rangefinders are 28mm, which means you are forced to compose in a different way.

On a modern digital Leica M body, that means using live view on the rear screen or adding a Visoflex electronic viewfinder, which shows the entire image the lens sees and helps with critical focusing.

If you are using a Leica M without live view, whether digital or film, you will need the separately sold Leica 21mm external optical viewfinder to properly see what you are taking. Of course, if you are using this lens on the modern Leica M EV1, then this is not an issue at all, as the built-in EVF allows you to see the full 21mm field of view without any additional accessories.

Having reviewed this lens on the Leica M11-P, I found myself opting for live view with red focus peaking, which made the whole process of shooting with this lens far more accurate and enjoyable. It is not quite the pure rangefinder experience some Leica users may want, but with a 21mm lens this wide, it does make practical sense.

One small frustration is the lack of a focusing tab. The focus action itself is superb, but a thumb tab would have made quick focusing feel even more instinctive, especially for street and documentary work.

There is also the lens cap. While correct for the period in which this lens was produced, the lightweight plastic Leica-branded cover does not really match the premium quality of the lens itself. This is admittedly being very picky, but when you are spending this much money on a lens, you do want the accessories to feel just as special.

Leica 21mm Summilux-M f/1.4 Asph: Performance

The performance of the Leica 21mm Summilux-M f/1.4 ASPH is fantastic. This is a lens that oozes quality, not just in how it is built, but in the images it produces. When paired with a modern 60MP Leica M body such as the M11-P, the level of detail, sharpness and rendering is truly impressive.

A 21mm lens is already a dramatic focal length, giving you a wide, immersive view of the world, but the Summilux adds something extra. The f/1.4 aperture gives this lens a character that is not commonly found in ultra-wide M lenses. It allows you to work in low light, separate subjects in a subtle but beautiful way, and create images that have both scale and atmosphere.

The image quality is excellent across real-world use. Detail is crisp, contrast is strong, and colors have that unmistakable Leica richness. It is the sort of lens that rewards careful composition, but it can also be used in a more instinctive way once you get used to the 21mm field of view. Architecture, interiors, environmental portraits, travel, documentary and street photography all suit this lens brilliantly.

However, one thing that is slightly annoying is the minimum focusing distance of 0.7 meters. For a lens this wide, there are times when you naturally want to get closer to your subject, especially when trying to create a more dramatic foreground or intimate perspective.

The 0.7m limit can be a challenge in some shooting situations, and it is one of the few areas where the lens feels slightly restricted compared with more modern close-focusing designs.

That said, when you work within its limits, the results are exceptional. The Leica 21mm Summilux-M f/1.4 ASPH is not simply sharp for the sake of being sharp. It has character, presence and a beautiful way of drawing a scene. The files it produces feel rich and full of life, especially when used with the latest high-resolution Leica M sensors.

Leica 21mm Summilux-M f/1.4 Asph: Sample photos

Leica 21mm Summilux-M f/1.4 Asph: Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion, and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness wide open is good, but not particularly special - you'll have to stop down to f/4 for a noticeable improvement, but even then we'd expect better performance from a prime lens like this. Corner sharpness is downright disappointing through most of the aperture range, only becoming respectable at f/11.

For some reason our lab data test shots had aperture f/stop values recorded in EXIF data which didn't match the lens's physical aperture settings. Our f/1.4 shots were also recorded with narrower aperture values, hence the lack of f/1.4 data in our test results.

Fringing:

Fringing in the center and mid region of frame is negligible, however it is noticeable in the corners of frame throughout the aperture range.

Distortion: -0.93

There's slight barrel distortion, but it shouldn't be easily visible in real-world shooting.

Leica 21mm Summilux-M f/1.4 ASPH Verdict

The Leica 21mm Summilux-M f/1.4 ASPH is one of those dream lenses. It is the kind of lens you buy once, use with pride and very possibly keep for the rest of your life. It is beautifully made, truly fantastic to use and capable of producing images that feel every bit as special as the lens itself.

Yes, it is incredibly expensive. At around $9,840 / £7,500, this is a serious investment, even by Leica standards. It also comes with a few practical compromises, including the lack of 21mm framelines in the rangefinder, the need for live view, Visoflex or an external finder, and the 0.7m minimum focusing distance.

But none of that takes away from what this lens is. If 21mm is your desired focal length, and you want one of the finest ultra-wide Leica M lenses ever made, then the Summilux-M 21mm f/1.4 ASPH is a significant investment into your photography that will be worth every penny of your hard-earned cash. It is expensive, rare and slightly demanding, but it is also magnificent.

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The Leica 35mm Summilux-M f/1.4 ASPH has long been one of the defining lenses of the M system, combining the classic 35mm field of view with the speed, character, and low-light capability of Leica’s Summilux line.

This latest close-focus version feels like the most complete expression of that legacy, taking everything photographers already love about the 35mm Summilux and expanding its usability in a meaningful way.

While 35mm has always been one of the most versatile focal lengths for rangefinder photography, this lens goes a step further by focusing beyond the traditional 0.7m rangefinder limit, reaching down to 0.4m when used with live view, the Visoflex, or an EVF.

That close-focus ability may sound like a small update on paper, but in real-world use it makes the lens feel far more flexible, especially for detail shots, environmental portraits, travel work, and everyday storytelling. In this review, I take a closer look at its build, handling, performance, and whether this could be the pinnacle of Leica’s 35mm Summilux line.

Leica 35mm Summilux-M f/1.4 ASPH Specifications

Mount: Leica M-mount
Full frame: Yes
Autofocus: No
Image stablization: No
Minimum aperture: f/1.4
Minimum focusing distance: 0.4 m.
Construction: 9 elements in 5 groups
Diaphragm blades:
Dimensions: 46x58mm
Weight: 338g

Leica 35mm Summilux-M f/1.4 ASPH Build and Handling

The Leica Summilux-M 35mm f/1.4 ASPH. is everything you would expect from a modern Leica M lens. It is beautifully made, reassuring in the hand, and finished with the kind of precision that makes using Leica glass such a pleasure. This is not just a tool; it is a piece of photographic engineering that feels designed to last for decades.

The most important update is, of course, the close-focus ability. Traditionally, Leica M rangefinder lenses have focused down to 0.7m, but this lens goes beyond that, allowing you to focus from 0.6m down to 0.4m. This might not sound like much on paper, but in real-world use, it makes the lens far more versatile. It opens up closer detail shots, tighter portraits, and more intimate compositions that were previously harder to achieve with a standard rangefinder-coupled 35mm Summilux.

Leica has also built a very useful physical indication into the focus throw. As you focus closer than 0.7m, you feel a small notch in the focus movement. This tells you that you are moving past the physical rangefinder focusing ability of the camera. From 0.6m down to 0.4m, you cannot focus through the optical rangefinder and must instead use live view, a Visoflex electronic viewfinder or, on a Leica M body with an EVF, the electronic finder.

This is a clever and reassuring design touch. It means you always know where you are in the focusing range, and it avoids any confusion when moving from traditional rangefinder focusing into the close-focus zone. It also makes this lens feel like a true bridge between classic Leica M shooting and a more modern way of working.

However, because the lens now focuses from 0.4m all the way to infinity, the focus throw is longer than some users may be used to from a more traditional 0.7m-to-infinity M lens. For very quick street photography, this may take a little getting used to. It is not a flaw as such, but it does slightly change the feel of the lens compared with older 35mm Summilux designs.

This is also the first Leica 35mm lens to come with the newer rounded built-in hood. In performance terms, the hood works well, and it gives the lens a more compact and modern appearance compared with the more traditional square hoods of the past. Personally, I tend to lean more towards the classic square hood design, but that is very much a matter of personal preference.

The practical advantage of the new rounded hood is that it drastically reduces the amount of frameline blockage compared with the older square hood design. That means you can see more of your image through the rangefinder, which is a genuine benefit when focusing quickly and grabbing a picture. For a 35mm lens designed to be used in real-world situations, that is a very welcome improvement.

Leica 35mm Summilux-M f/1.4 ASPH Performance

Optically, the Leica Summilux-M 35mm f/1.4 ASPH. is outstanding. In fact, this is probably the sharpest 35mm lens Leica has ever produced. As someone who regularly uses a 35mm lens and also the 50mm Summilux, this lens excels in optical quality, tonal control, and overall rendering in a way that genuinely feels like it surpasses some of the so-called “holy grail” Leica lenses of the past.

From f/1.4 through to f/16, this lens is outstandingly sharp. Wide open, it delivers a beautiful mix of clarity and atmosphere, with a slightly dreamy rendering from around f/1.4 to f/2.8. There is sharpness, but it is not harsh. It has that Leica glow and depth that makes images feel rich, three-dimensional, and full of character.

Stop the lens down to around f/4 and beyond, and it becomes a different animal. The rendering becomes sharper, more clinical, and more precise, making it perfect for documentary work, architecture, travel, and any situation where you want maximum detail and definition. This is one of the most impressive things about the lens: it gives you two distinct looks in one compact body.

At wider apertures, it has mood, atmosphere, and softness in the right places. Stopped down, it becomes incredibly crisp and controlled. This makes it a dream for anyone who wants a versatile 35mm lens that can adapt its style to the shooting environment. It can be romantic and characterful one moment, then clean, sharp, and highly detailed the next.

The tonal range is also exceptional. Shooting in color, the lens produces beautiful transitions, rich shades, and a refined sense of depth. There is a real clarity in the way it handles light and shadow, allowing images to feel natural but still unmistakably Leica. In black and white, the lens is equally impressive, delivering deep contrast, strong separation, and a wonderfully classic look.

The close-focus ability also adds real creative value. Being able to move closer than 0.7m gives the 35mm focal length a fresh sense of flexibility. It allows you to create more intimate frames, isolate smaller details, and produce images that would previously have required either cropping or switching to another lens. For travel, portraiture, street photography and documentary work, that extra focusing range makes a noticeable difference.

Sample images: Leica 35mm Summilux-M f/1.4 ASPH

Leica 35mm Summilux-M f/1.4 ASPH Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion, and chromatic aberrations.

Find out more about: how we test and review on Digital Camera World

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness (line widths per picture height)

Aperture

CenterMid-frameCorners

Sharpness Data

Timestamp (f/)	Center (line widths per picture height)	Mid-frame (line widths per picture height)	Corners (line widths per picture height)
2	1570	1447	804
2.8	1893	1721	1215
4	2438	2064	1618
5.6	2621	2290	1818
8	2724	2331	2143
11	2451	2270	1915
16	2049	1963	1672

Sharpness at larger apertures could be better, but stop down to f/4 and the lens is very sharp in the center and mid region of frame. Corner sharpness is disappointing wide-open, but again it soon improves and by f/8 it's excellent.

For some reason our lab data test shots had aperture f/stop values recorded in EXIF data which didn't match the lens's physical aperture settings. Our f/1.4 shots were also recorded with narrower aperture values, hence the lack of f/1.4 data in our test results.

Fringing:

< Prev

Center

Next >

f/2

0.37

f/2.8

0.26

f/4

0.23

f/5.6

0.27

f/8

0.3

f/11

0.28

f/16

0.18

01.252.53.755

Center Data

Product	Value
f/2	0.37
f/2.8	0.26
f/4	0.23
f/5.6	0.27
f/8	0.3
f/11	0.28
f/16	0.18

f/2

0.7

f/2.8

0.66

f/4

0.69

f/5.6

0.72

f/8

0.74

f/11

0.68

f/16

0.73

01.252.53.755

Mid-frame Data

Product	Value
f/2	0.7
f/2.8	0.66
f/4	0.69
f/5.6	0.72
f/8	0.74
f/11	0.68
f/16	0.73

f/2

0.81

f/2.8

0.78

f/4

1.28

f/5.6

1.43

f/8

1.37

f/11

1.44

f/16

1.37

01.252.53.755

Corners Data

Product	Value
f/2	0.81
f/2.8	0.78
f/4	1.28
f/5.6	1.43
f/8	1.37
f/11	1.44
f/16	1.37

1 of 3

Fringing in the center and mid region of frame is negligible, just barely becoming visible in the corners of frame, and even then only at f/4 and narrower.

Distortion: -0.89

There's slight barrel distortion, but it shouldn't be easily visible in real-world shooting.

Leica 35mm Summilux-M f/1.4 ASPH Verdict

The Leica Summilux-M 35mm f/1.4 ASPH. is a truly exceptional lens, and one that feels like the pinnacle of the 35mm Summilux line. It takes everything photographers already love about the 35mm Summilux and makes it more usable, more flexible, and more capable for modern shooting.

The close-focus feature is not a gimmick. It genuinely expands what this lens can do, allowing you to move beyond the usual 0.7m limit and focus down to 0.4m when using live view, Visoflex, or an EVF. Combined with its outstanding sharpness, beautiful tonal range, and two distinct rendering styles, this is one of the most complete Leica M lenses available today.

At $6,900 / £5,400, it is undeniably a massive investment. But considering its optical performance, close-focus ability, superb construction, and ability to deliver both dreamy character and clinical sharpness, it feels like money well spent for anyone serious about the 35mm focal length.

This is a lens you can use in almost any situation, from travel and portraiture to street photography and documentary work. It is compact, beautifully made, optically exceptional, and wonderfully versatile. If 35mm is your preferred focal length, this close-focus Summilux-M is not just one of the best Leica lenses you can buy; it may be one of the finest 35mm lenses Leica has ever made.

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There's something special about creating photos with a used camera that has years of stories behind it. But using a camera that has belonged to one of the most lauded fine art photographers of his generation, that’s just incredible.

Well now, Ralph Gibson, the esteemed monochrome photographer, has teamed up with camera resale site MPB and online photography magazine Blind to give one lucky winner his personal Leica Typ 246 rangefinder along with his Summilux 50mm f/1.4 ASPH lens.

Gibson has exclusively used Leica cameras since 1961 and, for the past 15 years, the Leica Typ 246 and Summilux 50mm prime combination has been his go-to setup.

The Leica M Monochrom (Typ 246) is a specialized, full-frame digital rangefinder that shoots exclusively in black-and-white. By omitting the traditional color filter array, its 24-megapixel CMOS sensor renders detailed micro-contrast and achieves solid low-light performance.

And the Summilux 50mm f/1.4 ASPH is a Leica native prime lens known for exceptional center sharpness and subject separation.

Gibson’s original Leica camera gear is only one half of the giveaway; he’s also sending the winner a signed copy of what is perhaps his most famous book: Light Years – a major retrospective monograph covering the artist's career from 1960 to 1991, with all images taken using Leica models.

The giveaway is free to enter and opens on June 10, with entries closing July 10. What a fantastic opportunity to not only gain an iconic Leica camera but to use the exact camera that has been in the hands of one of photography’s greats and that has captured so many award-winning shots.

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Discover our pick of the best Leica cameras. We all know Leica models don’t come cheap, so we’ve put their top rigs through their paces so you can buy confidently.

The Leica Camera AG sale rumors have taken another interesting turn, with fresh reports now suggesting that HSG – formerly known as Sequoia Capital China – could be in a position to do far more than simply buy Blackstone’s stake in the iconic German camera maker.

While earlier talk centered on Blackstone’s minority holding, the latest speculation suggests that HSG could also look at purchasing the Kaufmann family’s controlling share – potentially putting the Chinese investment firm in a position to take full control of one of photography’s most famous luxury brands.

As I previously reported, Leica Camera AG has been at the center of sale speculation for months, with a possible deal valuing the company at around $1.2 billion / £878 million / AU$1.7 billion.

At the time, the big question was whether Andreas Kaufmann, the man widely credited with helping guide Leica through one of the most important chapters in its modern history, was preparing to step back.

Now, the rumor mill has moved on again. Blackstone’s stake has long been seen as the obvious piece of the puzzle, but if HSG was also able to acquire the Kaufmann family holding – currently reported at around 56% – then Leica could move from long-term family-controlled stewardship into the hands of a Chinese investment group.

That is a huge thought for anyone who knows Leica. This is not just another camera company. Leica is Wetzlar, heritage, rangefinders, red dots, handmade optics and a level of brand loyalty that most camera manufacturers could only dream of.

The idea of a Chinese company becoming the full owner of this deeply German luxury camera brand will no doubt raise eyebrows – and probably a few heated arguments among Leica purists, too.

Of course, it is important to say that talks are still talks, and rumors are still rumors. Nothing is done until it is done, and sale stories around major heritage brands can shift, stall or disappear entirely.

It is also possible that any deal could still leave Kaufmann with some form of influence or continued involvement, depending on how things are structured. But the fact that HSG is being discussed not only in relation to Blackstone’s share, but potentially the Kaufmann family share as well, makes this a much bigger story than a simple investor exit.

And in some ways, it would make sense. HSG is not some random name with no understanding of premium consumer brands.

The firm has been linked with major investments across technology, consumer goods and luxury, including Italian luxury sneaker brand Golden Goose, as well as stakes connected to ByteDance (the parent company of TikTok) and Canva.

That combination of luxury, lifestyle, software, creativity and global consumer reach could open up some very interesting possibilities for Leica.

For Leica, the big question would be what kind of owner HSG wanted to be. Would it preserve the mystique, heritage and almost obsessive craft culture that makes Leica what it is? Or would it try to push the brand harder into the global luxury technology space, where cameras, phones, software, creator tools, and lifestyle branding all begin to overlap?

Leica is already more than just a camera maker. It has phones, watches, galleries, collaborations and a powerful lifestyle identity. Under an owner with HSG’s reach, that side of the business could become even more important.

That will excite some people and terrify others. Leica fans are famously protective of the brand, and rightly so. The company has survived because it understands that its value is not only in megapixels, autofocus points or video specs. It is in emotion, design, history, and trust.

Any future owner would have to understand that Leica cannot simply be scaled like a normal consumer technology brand without risking the very thing people buy into.

Still, it would be wrong to assume that Chinese ownership automatically means Leica would lose its soul. The modern luxury market is global, and China is one of the most important luxury markets in the world.

And let's not forget that China's DJI has owned a majority stake in Hasselblad – a similarly storied, distinctly European, luxury camera manufacturer – for over a decade at this point, with no negative impact on the brand.

HSG’s experience in both tech and premium consumer brands could, in theory, give Leica the resources to grow while keeping its German manufacturing and design identity intact. The danger, as always, would be pushing too far, too fast.

For now, Leica remains Leica, and no deal has been confirmed. But the possibility of HSG buying both Blackstone’s stake and the Kaufmann family’s controlling share turns this from a financial reshuffle into a potential historic changing of the guard. If it happens, it could mark the end of one Leica era and the beginning of another.

The real question is whether that future would protect Leica’s legacy or transform it into something very different. And for a brand built so heavily on tradition, that is not a small question.

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Take a look at the best Leica cameras, along with the best Leica M lenses for rangefinders and the best Leica SL lenses for mirrorless.

Leica has made smartphone photography through binoculars a whole lot easier, thanks to a new partnership with US company Ollin.

The result is the Ollin snapshot adapter for Leica Geovid Pro binoculars, a simple but clever accessory designed to let users quickly capture what they are seeing through their binoculars using a smartphone. Whether it is wildlife, birding, hunting, or simply recording a memorable sighting in the field, this adapter turns the Leica Geovid Pro into something far more versatile.

The idea is simple: the adapter holds almost any smartphone securely in place using magnetic brackets, allowing the phone’s camera to line up with the binocular eyepiece. Once attached, users can shoot stills and videos directly through the binoculars, effectively turning their smartphone into a powerful telephoto camera.

Leica says the smart magnetic system ensures precise alignment with repeatable accuracy, which should make the whole process far less fiddly than traditional digiscoping setups. Different smartphones can be connected using the Ollin snapcase or magnetic tab, both of which are available separately. Better still, the adapter’s flat design means it can be left on the eyepiece during normal binocular use, making it quick to switch between observation and photography.

Alongside the new Ollin adapter, Leica Sports Optics has also introduced the Leica Geovid Pro 8x42 and 10x42 binoculars in a new olive green finish. Going forward, olive green will be used to identify the Geovid Pro line, while the Geovid R range will remain in black, and the top-end Geovid AB+ models will appear in Flat Dark Earth. It is a small change, but one designed to make Leica’s rangefinder binocular lineup easier to understand.

The Leica Geovid Pro range is already one of the most advanced binocular systems in Leica’s sports optics lineup, combining premium optics with over 30 years of rangefinding experience. The models feature Pro Applied Ballistics Ultralight ( a specialized, entry-level ballistic solver tier that calculates long-range shooting solutions) with G1/G7 support and more than 740 factory-loaded cartridges preinstalled, along with access to Leica’s wider database.

The Geovid Pro binoculars also feature Leica’s open-bridge design for a secure grip, as well as a built-in compass. This allows users to target and retrieve terrain points for navigation using Leica Pro Track, making the binoculars as much about precision and fieldcraft as they are about pure observation.

The Leica Geovid Pro 8x42 and 10x42 binoculars in olive green are available now from Leica Stores, the Leica Online Store, and specialist retailers, priced at $3,639 / £2,470.

The new Ollin snapshot adapter for Leica is priced at $229 / £129, with additional models also available for other Leica binoculars and Leica spotting scopes.

James Bond has used a lot of different cameras in the movies, usually modified by Q Branch to be wielded as a weapon. But now a weaponized Leica camera has debuted in the new Bond videogame, 007 First Light.

The British superspy is no stranger to cameras modified for field use. The Man with the Golden Gun featured a rocket-firing Nikon F2, while Licence to Kill saw a Polaroid Spectra that shoots lasers and a Hasselblad 500C that turns into a sniper rifle.

However, the last time he used a Leica was in the original 1959 Goldfinger novel (he didn't pick one up in the 1964 movie adaptation). Back then it was a Leica M3, but today it's a modified version of the Leica Q3.

This continues a longstanding collaboration between the 007 and Leica brands, with numerous cameras like the Leica D-Lux 7 007 Edition (which came with a holster) and the Leica Q2 007 Edition.

In the 007 First Light videogame, developed by IO Interactive (best known for the Hitman franchise), Q Branch can outfit Bond with a (sadly fictional) Shockwave Camera. The inventory gives the following description:

"This inconspicuous looking camera triggers a small, directed propagating disturbance that staggers opponents on impact and causes medium damage to body armour. Perfect for buying time or gaining the upper hand in a fight."

It isn't just enemies that are affected by the camera, however. It appears that the Q3's 61MP full frame sensor is so powerful that it can also blow up environmental elements:

"Use shockwave to push enemies away and provide an escape route. Environmental objects, breakable covers and some locked doors can be destroyed or pushed by the shockwave."

Which is cool and all. But I must admit, it would've been cool if this more espionage-oriented Bond game gave you ability to use a Leica camera to actually take pictures. After all, per Golfinger, 007 knows how to take a proper photo:

"Bond took the elevator up to his suite. He went to his suitcase and extracted an M3 Leica, an MC exposure meter, a K2 filter and a flash-holder. He put a bulb in the holder and checked the camera. He went to his balcony, glanced at the sun to estimate where it would be at about three-thirty and went back to the sitting room, leaving the door to the balcony open. He stood at the balcony door and aimed the exposure meter.

"The exposure was one-hundredth of a second. He set this on the Leica, put the shutter at f11, and the distance at twelve feet. He clipped on a lens hood and took one picture to see that all was working. Then he wound on the film, slipped in the flash-holder and put the camera aside."

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Curious about which other cameras Bond used? Take a look at the (00)7 real cameras used by James Bond. And if you want a red dot camera of your own, check out the best Leica cameras (which sadly don't fire rockets or lasers).

Millennial gray home decor might be out, but ‘Leica gray’ cameras are most definitely in. The legendary German manufacturer has developed an all-new metallic-gray finish, in-house, a subtle departure from its classic black-and-silver colors chemes. Three existing cameras have received the treatment, the Leica M11-P, Leica Q3 and Leica D-Lux 8. The Leica APO-Summicron-M 50mm f/2 ASPH also sports the same finish, alongside a range of accessories.

The luxury camera manufacturer has a history of turning out cameras in different color schemes, such as the recently discontinued Leica M11-P Safari, dressed in a utilitarian olive-green, and the Leica D-Lux 8 100 Years of Leica, dressed in a classy ode to the 1925 Leica I.

All-new metallic gray finish

Leica says that the M11-P in metallic gray “is the first M-Camera to introduce the new tone to the M-System.” Which certainly sounds like Wetzlar isn’t counting out the possibility of introducing the colorway to more M-Cameras in the future. From the product imagery, the M11-P looks extremely smart, with the metallic gray adorning the top and bottom plates, with the dark-gray diamond-patterned leather creating a two-tone aesthetic, with black accents applied to the physical controls.

Of course, the Leica M11-P is an interchangeable-lens camera, so it’s only fair that Leica has launched a metallic-gray APO-Summicron-M 50mm f/2 ASPH to complete the look. I really like the look of this lens. Instead of the orange and white numerals featured on the standard black variant, Leica has opted for the red-and-black numerals that are on the existing silver variant, but because the gray is darker, it looks like the red really pops.

To bring the very best out of the Leica M11-P’s new color scheme, you can pair it with a range of color-coordinated accessories, including the BP-SCL7 battery, two protectors and a strap. The strap is a new dark-brown leather, which matches the dark-brown protector, and there’s also a black leather multifunctional protector, which combines a protector, handgrip and Arca-Swiss-compatible baseplate.

The Leica Q3 and D-Lux 8 have received similar treatment, with the former also boasting that gorgeous red lettering on the fixed lens. Optional accessories for the Q3 are dark-brown leather protector and carrying strap, while the D-Lux 8 gets a very smart cognac-coloured leather camera case, as well as braided black leather wrist and carrying straps.

Available now:

• Leica M11-P (metallic gray) priced at $10,400 / £8,250
• Leica APO-Summicron-M 50mm f/2 ASPH (metallic gray) priced at $9,990 / £7,760
• BP-SCL7 battery, $200 / £160.00
• Protector for M11 cameras (dark brown), $340.00 / £260.00
• Carrying strap with shoulder pad for M and Q cameras (dark brown), $150 / £115
• Multifunctional protector for M11 (black), $370 / £280

Available from July 16:

• Leica Q3 (metallic gray) priced at $7,350 / £5,750.00
• Leica D-Lux 8 (metallic gray) priced at $1,915 / £1,550
• Protector for Q3 cameras (dark brown), $280 / £210
• Camera case for D-Lux 8 (cognac), $210 / £160
• Braided leather wrist strap for D-Lux 8 (black), $110 / £80
• Braided leather carrying strap for D-Lux 8, $TBC / £110

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Check out the best Leica cameras and the best Leica M lenses. if you're looking for a more affordable alternative, look no further than the effortlessly classy Panasonic Lumix L10.

There are a lot of beautiful cameras on the market right now. The Sigma BF, the Leica D-Lux 8 100 Years of Leica Edition, the new Panasonic Lumix L10… but there's a new kid in town. Well, it's really an old-school kid.

This is the first prototype of a film camera using the Leica M39 mount, being made entirely by hand by the Suzuki Handmade Camera Factory.

My first thought was that this looks like the Cybertruck of Leicas, which I mean in the most complimentary way possible. Hand-milled and drilled from carbon steel, with the glass lens and prism cut and polished from glass ingots, the question might be… why?

As the enigmatic ingénieur behind the Suzuki Handmade Camera Factory states: "I am pursuing the creation of the finest mechanical 35mm film camera – researching, developing, and prototyping entirely on my own."

The project began back in 2021, establishing the workshop and means to create all the components. The first prototype design was completed in October 2024, after which there was a long period of refining and fine-tuning.

Now "Prototype No 1" is 70% finished, with completion forecast for June, with Prototype No 2 scheduled between June and December, followed by Prototype No 3 – the first production model – set to get underway in 2027.

The current model boasts a metal-curtain horizontal-travel focal-plane shutter, 1/1000 to 1 second shutter, a rangefinder with 1.0x magnification and 120mm base length, and dimensions of 140 x 72.5 x 32 mm.

The Suzuki Handmade Camera Factory has added a new section to the website called Manufacturing Archive containing newly uploaded videos that showcase the manufacturing process of each component of Prototype No 1.

These videos are hosted on the manufacturer's YouTube page as well as its Instagram account. If you're even remotely interested in how cameras are made, or how film cameras work, or even just watching in amazement as somebody builds cool stuff, I definitely recommend checking out Suzuki Handmade Camera Factory.

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Take a look at the best film cameras and make sure you're using the best 35mm film.

Insta360 has just completed a pre-launch event for its new Luna and Luna Ultra pocket gimbal cameras, sharing the device with creators and others at the legendary Leica campus.

The camera clearly takes a swipe at DJI's established Osmo Pocket 4 and Pocket 4P products, the latter of which is also waiting for final price and release date, but is has some distinct differences.

One of the most obvious is that both variants of the Leica Luna sport a detachable remote control – into which the controls, a touchscreen, and a microphone are built-in. This gives the Luna some interesting use cases for YouTubers.

At the event, the company shared that there will be two models of the Luna – a Luna Pro (with one camera) and the Luna Ultra with two.

The Luna Ultra will have five steps of optical zoom, with the tele lens 3x the wide, but also offering 6x (lossless) and 12x.

In both cases, the lens is co-engineered with legendary camera company Leica, which celebrated the 100th anniversary of its core technology last year.

The main image sensor is 1-inch, and has a f/1.8 maximum aperture.

The camera also boasts an in-camera beauty mode, which should make it very competitive in the vlogging space. This is a feature DJI has made sure is available in its cameras, and it seems to contribute to success – before Insta360 arrived to compete, DJI was reported to have 72.5% of the market share in Japan for video cameras by BCN in April, thanks to the new Pocket 4 launch (the Pocket 4P is still not on sale).

Insta360 has clearly also considered the cinematography market. There are cinematic profiles, as well as ACES workflow compatibility, 10-Bit I-Log and Dolby Vision.

As you might imagine, given the location for the event, there are also Leica color profiles built-in.

Leica has released firmware version 4.1.0 for the Leica Q3, Leica Q3 43, and Leica Q3 Monochrom, bringing a useful round of refinements to its fixed-lens full-frame camera family.

While this is not the kind of update that completely changes the character of the cameras, it does make the Q3 series feel more polished, more consistent, and, importantly, better suited to photographers working with DNG files in third-party editing software.

The most interesting part of this update is Leica’s improvement to the color matrixes stored in DNG files. In simple terms, this should improve color rendering when files are opened in third-party software that uses these matrixes for color presets. For Q3 and Q3 43 users, this could mean more pleasing and accurate color straight from the raw workflow, which is exactly the kind of quiet but meaningful improvement Leica shooters will appreciate.

Color has always been a huge part of the Leica look. While the Leica Q3 Monochrom naturally sits outside that conversation in the traditional sense, the wider Q3 family is built around files that carry a very particular tonal character. Leica's improvement in how those DNG files are interpreted away from the camera shows that this firmware is not just about fixing small bugs, but about refining the image-making experience beyond capture.

There are also several usability improvements. Images shot in portrait orientation will now display in full-screen view, the selected AF mode is shown with an additional icon in the upper status bar, and focus peaking can now be set to appear only when focusing manually via the MF focus ring. Leica has also improved AF tracking feedback, with the tracking frame now changing color depending on detection status, while green markers confirm focus.

Firmware 4.1.0 also removes the warning message shown when powering up the camera with a BP-SCL4 rechargeable battery, and fixes an issue where the camera could freeze when switching from a profile with Leica Fotos turned off to one with Leica Fotos turned on.

It may not be the flashiest firmware update Leica has ever released, but for Q3, Q3 43, and Q3 Monochrom owners, this is a welcome refinement that improves the shooting experience and, most notably, the color workflow.

The Leica APO-Summicron-SL 28mm f/2 ASPH is a rather heavy lens, which took me by surprise when you see that it is a neat, and compact lens. It weighs in at a hefty 24.7oz / 700g and the price... an eye-watering $5,650 / £4,650!

Price aside, this is probably one of the most solid mirrorless primes I have ever laid eyes on, as it should be for that amount of wonga - but you certainly get what you pay for with tremendous image quality.

It features a fast and bright f/2 aperture and can be stopped down to f/22. With a minimum focus distance of just 9.4" / 24cm, this 28mm lens for the SL-System can certainly be used to cover photography genres such as street, reportage, and of course landscapes - but does this lens live up to the legendary 28mm hype?

Leica APO-Summicron-SL 28mm f/2 ASPH. Specifications

Mount: Leica L-mount
Lens design: 13 Elements in 10 Groups
Maximum aperture: f/2
Minimum aperture: f/22
Angle of view: 75.4°
Minimum focusing distance: 9.4" / 24 cm
Maximum reproduction ratio: 1:5
Filter size: 67mm
Dimensions: 2.9 x 4" / 73 x 102 mm
Weight: 24.7oz / 700g

Leica APO-Summicron-SL 28mm f/2 ASPH. key features

If you’ve been looking for the ultimate wide-angle lens to fix onto your Leica SL3 or SL3-S for street, reportage, landscapes, or just to have as an all-around lens for any occasion, then this APO-Summicron-SL f/2 is the one to get, but you must be prepared to pay handsomely for it. The Leica 28mm APO- Summicron-SL f/2 ASPH. is built like a tank with only the best materials used, and functions as expected from the renowned German manufacturer. On first inspection, I was taken aback by how small this lens is (which is a joy seeing other SL primes are overly massive), but then feeling the heft of this lens reminds you that this isn't a "cheap" lens in any regard.

It is designed with 13 elements in 10 groups along with an aspherical lens element that assists in achieving the highest quality image possible, even at the closest option focus range of just 9.4" or 24cm, which makes this lens the perfect "do it all" lens to have pertinently on your SL camera system.

Leica APO-Summicron-SL 28mm f/2 ASPH. Build and Handling

Like any premium lens from Leica, the 28mm APO-Summicron-SL f/2 .ASPH. feels phenomenal in the hands, and it's built like a tank with German engineering at its heart. It’s no wonder this lens is desired and respected by photographers from all over the world - while its overall looks might not be the prettiest from Leica, the results speak for themselves.

While using the Leica 28mm APO-Summicron-SL f/2 ASPH paired with a Leica SL2-S I found its weight to have a nice balance in the hand, which was a nice surprise, as the SL2-S isn't a heavy camera, and the lens did not feel top-heavy. Stopped down to f/8 or f/16, you will really see how well this lens performs in bright daylight. Every image was razor sharp, giving a lot of clarity and depth to each image. However, images shot wide open at f/2 looked incredible and did well in isolating subjects from the background with a pleasing and dreamy look.

Leica APO-Summicron-SL 28mm f/2 ASPH. Performance

I shoot a lot of images on a 21mm for street photography, I found the 28mm of the APO Summicron-SL an amazing focal length for street, candids, landscapes, and pretty much anything you want to point your camera at - it’s a very nice and useful lens indeed, and it is one of the most compact SL prime lenses on the market - pair with the Leica SL2-S made for a really enjoyable package to have around my neck or flung around my should for all day shooting.

The only grumble I can really make on the Leica 28mm APO-Summiron-SL f/2 is that there is no distance scale on the lens like you would find on the best Leica-M lenses - while I see why Leica has done this across the whole range of the SL lens range, it does make it tricky when you want to quickly shoot from the hip while covering street photography or just wanting to capture a quick candid moment with the family.

However, when you have the camera to your eye, or using the rear screen, the 28mm is extremely fast to focus, while this is mostly down to the SL2-Ss tracking system - every image I took across this review was sharp, and it never missed a beat.

Obviously, this lens is able to shoot wide open at f/2, which lets in a tremendous amount of light and makes any dimly-lit or next-to-no-light situations perfect for those who like to shoot images in all locations and at all times of the day, even at night. I found the Leica 28mm APO-Summicron f/2 ASPH. lens to be sharp wide-open with amazing separation of subject, however, I think the sweet spot really is between f/2 for low-light shooting and f/8 for when the sun is at its highest. Overall, I'd say the lens produces fantastic images with rich tonalities and high clarity, which I was really pleased with.

Sample images: Leica APO-Summicron-SL 28mm f/2 ASPH.

Leica APO-Summicron-SL 28mm f/2 ASPH. lab results

Leica APO-Summicron-SL 28mm f/2 ASPH. Verdict

If you’ve been looking for the ultimate 28mm lens to fix onto your Leica SL or SL2 series camera for street, reportage, or even landscapes, then this 28mm APO Summicron-SL f/2 ASPH. this is the one to get, thanks to its compact form factor, but be prepared to fork over a heap of cash for it. The Leica 28mm APO-Summicron-SL f/2 ASPH. is built like a tank with only the best materials used, and functions as expected from the renowned German manufacturer.

However, this compact lens will cost you a small fortune to own; but if you’re looking for this to be your one lens to use on every occasion with your SL system and be strapped to your camera for the end of time, it is a wise investment and really does cut some of the weight when compared to other SL Summilux options - The 28mm focal length carries a lot of prestige with photographers around the world I'm pleased to say the Leica 28mm APO-Summicron-SL f/2 ASPH. holds true to this statement.

If you enjoyed this, you might also like our best Leica SL lenses guide, or our reviews on the Leica SL3 or Leica SL3-S, and while you are here why not check out the best Leica cameras.

I have used a lot of professional lenses, being a professional sports photographer in a previous life and I have to say the standard 70-200mm f/2.8 lens is the workhorse for the pro sports photographer, wildlife shooter, or even landscape photographers looking to isolate subject. The Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4 with its 90-280mm focal length is an incredible lens to use in the real world, and having that extra reach towards the 300mm end really comes in handy.

While I use a lot of prime lenses in my work, the one zoom lens I use time and time again is the "Trinity" 70-200mm, and having used the Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4, it is for certain that this lens is targeted at pro photographers looking for that "Trinity" workhorse lens when switching from other systems to Leica.

It is a quality-built lens with internal focusing, meaning that when you turn the zoom ring, the overall length of the lens stays the same at all times - another plus from me, with Leica going with that design choice, as I really do not like external zoom lenses!

But those looking at this lens to be that one pro-grade lens they use for nearly everything, you must expect to pay a fortune for it, with a current price of $7,805 / £6,250 - that's a massive $4,898 / $3,735 increase when compared to the standard f/2.8 equivalent - which is f/2.8 throughout the zoom range - so you have to be prepared for the higher cost and make sure this really is the lens you need.

After using it, I personally think it is worth it if you are looking to take the plunge into a professional career with your photography, as even though there is a significant investment compared to comparable lenses from other manufacturers, a lens like this pays for itself time and time again over your career.

Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4: Build and Handling

Build and handling are exactly where the Leica APO-Vario-Elmarit-SL 90-280mm f/2.8-4 begins to justify its professional status. This is a serious lens, both in size and construction, but it feels every inch the premium optic you would expect from Leica. The barrel is beautifully finished, the controls are smooth and precise, and everything about it gives the impression of a lens designed to survive years of demanding professional use.

What I really like is that Leica has opted for an internal zoom design, meaning the lens does not extend as you move through the focal range. For me, that makes a big difference in the field. It keeps the balance consistent, feels more reassuring in the hand, and avoids the slightly awkward front-heavy shift you can get with external zoom lenses. Paired with an SL body, it feels substantial, but controlled, and that extra reach to 280mm never makes the lens feel unwieldy.

There is no getting away from the fact that this is a large and weighty lens, but that is part of the trade-off when you are dealing with this level of optical performance and build quality. It is not a casual walkaround lens, but for sport, wildlife, birding, or landscape work where reach and reliability matter, it handles beautifully. The zoom and focus rings have that lovely Leica smoothness, and the overall feel is one of confidence, precision, and durability.

Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4: Performance

Performance is where the Leica APO-Vario-Elmarit-SL 90-280mm f/2.8-4 really starts to shine. This is a lens that feels designed for demanding real-world use, whether that is sport, wildlife, birding, or picking out fine details in the landscape.

The extra reach beyond the usual 70-200mm range makes a noticeable difference in the field, giving you that added flexibility when you cannot physically get closer to your subject.

Image quality is excellent throughout the zoom range, with impressive sharpness, contrast, and clarity. Wide open, it is more than capable of producing beautiful results, but I found the lens really comes into its own between f/5.6 and f/8, where detail and overall image quality feel especially strong. The rendering has that clean, refined Leica look, with crisp subject separation and a level of detail that gives files plenty of depth.

Autofocus performance is also strong, locking on quickly and confidently when paired with an SL body. For moving subjects, the lens feels responsive and dependable, which is exactly what you want from a professional telephoto zoom.

The variable aperture will not suit everyone, especially those used to a constant f/2.8 70-200mm, but in practice, the optical performance and added 280mm reach more than make up for it. This is a lens that delivers serious results when it matters.

Sample images:

Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4: lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is superb at all tested focal lengths and apertures. Corner sharpness isn't quite as good, but it's consistent and very respectable.

Fringing:

A shorter focal lengths the lens produces virtually no chromatic aberrations. Only at maximum zoom does fringing start to become visible, but only just, and only at larger apertures.

Distortion:

The lens produces minor barrel distortion at 90mm, transitioning to equally minimal pincushion distortion throughout the rest of the focal range.

Leica 90-280mm APO-Vario-Elmarit-SL f/2.8-4: Verdict

The Leica APO-Vario-Elmarit-SL 90-280mm f/2.8-4 is an exceptional professional zoom that delivers the kind of optical performance, build quality, and real-world versatility expected from Leica.

Its extended reach beyond the traditional 70-200mm range makes it especially useful for wildlife, birding, sport, and landscape work, while the internal zoom design keeps the handling balanced and reassuringly refined. It is sharp, wide open, performs beautifully around f/5.6 to f/8, and produces images with the clarity and character that make Leica glass so desirable.

The price is undeniably high, particularly when compared with more conventional 70-200mm alternatives, but for photographers fully invested in the SL system, or professionals looking for a serious workhorse lens with extra reach, this is a superb long-term investment.

If you enjoyed this, you might also like our Best Leica SL lenses guide, or our reviews on the Leica SL3 or Leica SL3-S, and while you are here why not check out the best Leica cameras available today.

A highly sought-after compact camera has claimed the top position in Japan's latest sales rankings – even as availability remains extremely limited.

The Fujifilm X100VI has once again surged to No.1 in Yodobashi's best-selling compact camera chart for the second half of April, despite being widely out of stock and frequently sold out since launch.

In many regions, the camera is still only available through backorders, making its top ranking even more notable – but it's not the only "hard-to-get" compact on the chart.

Yodobashi's top selling compacts (2nd half Apr)

1. Fujifilm X100VI Silver | Black
2. Sony ZV-1 II Black | White
3. Canon PowerShot G7 X Mark III Black | White
4. Canon PowerShot SX740 HS Lite Silver | Black
5. Kodak Pixpro C1 Black | Brown
6. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A Black | Silver
7. Panasonic Lumix TZ99/ ZS99 Black | White
8. Leica Q3 43
9. Ricoh GR IV
10. Leica Q3

A best-seller you can't easily buy

The Fujifilm X100VI has become one of the most in-demand compact cameras globally since its release in 2024, consistently selling out shortly after stock arrives.

Its popularity has been driven by a mix of retro styling, strong image quality, and premium build quality, making it a standout in the compact camera resurgence.

Just recently, I reported that the compact camera was rated at No.2 of Japan's best-selling cameras by Map Camera – including APS-C, MFT, and full-frame cameras.

It also won awards like the 2025 Red Dot Award. The jury noted: "With a 40.2 MP sensor and in-body image stabilisation, the FUJIFILM X100VI delivers high image quality even in low light conditions. The camera’s retro aesthetic is achieved through a tactile, analogue feel reminiscent of classic film cameras."

Stock shortages are shaping the rankings

Several other models in the top 10 are also affected by availability issues, including the Canon PowerShot G7 X Mark III (3rd), the Canon PowerShot SX740 HS Lite (4th), and the Ricoh GR IV (9th).

These models continue to appear in rankings partly due to backordered shipments, highlighting the ongoing supply constraints across the compact camera market.

The surge in demand for these compacts is not limited to Japan. Across the US and UK market, models like the X100VI and PowerShot SX740 HS Lite are sold out at major retailers.

However, the Ricoh GR IV is in stock at Amazon for $2,196.99 / £1,199.99, and the Canon PowerShot SX740 HS Lite is available at Amazon for $749 / £545.

With demand still outpacing supply, it remains to be seen how long the Fujifilm X100VI can maintain its top position – and whether competitors can regain ground once stock levels stabilize.

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Leica collectors, get ready: some seriously rare cameras are heading to auction, and this latest sale feels like one of those moments where Leica history, photojournalism, and pure mechanical beauty all collide.

Leitz Photographica Auction No. 48 will take place in Wetzlar, Germany, on June 13, 2026, with a line-up that includes some extraordinary pieces from the golden age of Leica rangefinders. Among the headlines is a black paint Leica MP no. MP-33, a chrome Leica MP once owned by Tazio Secchiaroli, and an olive Leica M3 from the final Bundeswehr batch.

For many Leica fans, the standout will be the Leica MP black paint no. MP-33, a camera that sits right at the top table of collectible Leica bodies. The MP was first unveiled at Photokina in Cologne in 1956, but this was not just another Leica M3 variation. It was the only serial-production Leica to carry its own consecutive numbering system, separate from Leica’s usual factory numbers, and only 402 examples were ever made. Of those, just 141 were finished in black paint, making this one of the rarest production Leicas ever created.

The MP was born from the demands of working press photographers, particularly in America, who wanted to combine the M-series rangefinder with the speed and practicality of the Leicavit rapid winder. It became a trusted tool for legendary Magnum photographers, including Alfred Eisenstaedt and David Douglas Duncan, and MP-33 has all the hallmarks collectors love: history, rarity, black paint, brass, and the kind of beautiful wear that can only come from a life spent being used rather than hidden away.

This example was delivered to Brandt in Sweden on July 29, 1957, and comes with a matching black paint Leicavit and a black paint/brass-mount Summicron 2/5cm lens delivered to the same dealer one day later. Its estimate is €700,000 to €800,000 (around $880,000 / £650,000).

Also heading under the hammer is Leica MP chrome no. MP-368, and this one carries the sort of provenance that gives a camera a soul beyond its serial number. Delivered on January 16, 1958, it is documented as the personal camera of Tazio Secchiaroli, one of the original Roman paparazzi whose candid celebrity photographs along Via Veneto helped define the visual culture of La Dolce Vita.

His work was so influential that it helped inspire the character Paparazzo in Federico Fellini’s 1960 film, and this camera is offered with a rigid Summicron 2/5cm lens, as well as a copy of The Original Paparazzo bearing a personal dedication by Secchiaroli in which the camera’s serial number is specifically mentioned. Its estimate is €100,000 to €120,000 (around $130,000 / £95,000).

Then there is the Leica M3 olive Last Batch Bundeswehreigentum, a military Leica that will no doubt catch the eye of serious M3 collectors. Produced in 1968, this camera comes from the final batch of olive M3 bodies of this version, with only 38 cameras made in the serial range 1206962 to 1206999. The example offered is the second camera from that run, complete with the “Bundeswehreigentum” engraving on the rear of the top plate, the smaller 1/4-inch tripod thread later adopted for the Leica M4, and the original Leitz Wetzlar “L” seal still intact. Paired with a period-correct Elmar 2.8/50mm lens from 1968, it carries an estimate of €120,000 to €140,000.

There is also a very special charity lot in the sale, and for modern Leica collectors, it might be one of the most intriguing pieces in the whole auction. Leitz Photographica Auction No. 48 will include a Leica M10-P Safari prototype, serial number 5325890, with an estimate of €8,000 to €10,000.

While the headline cameras may command the biggest numbers, this prototype feels particularly special because it combines Leica’s modern digital M heritage with the romance of the Safari finish, one of the most desirable looks in the brand’s history. The fact that it is being offered as a charity lot only adds to its appeal, making it not just a rare collector’s item, but a camera with a purpose beyond the display cabinet.

What makes this auction so fascinating is that these are not simply old cameras with big price tags. They are working objects from the front line of photographic history, the kind of machines that helped shape the way the 20th century was seen.

From the black paint MP built for professional speed, to Secchiaroli’s chrome MP linked directly to the birth of paparazzi culture, and the olive M3 preserved as a remarkable piece of military Leica history, Auction No. 48 looks set to be a major moment for collectors. And, as ever with rare Leica, the real magic is not just in the condition or the estimate, but in the stories these cameras still carry in every scratch, engraving, and worn edge.

Check out the best Leica cameras you can buy new today

We love Leica's iconic M-series cameras, with their exquisite no-compromise build and pure shooting ethos. However, if you want to shoot one-handed, the minimalist (and slippery) thumb rest on M10 and M11 bodies doesn't offer the most reassuring grip.

But now a Chinese brand named AKuser BE THE ULTIMATE has come up with a larger, more sculpted thumb rest that should make an M10 or M11 feel considerably more secure in the hand. The rest attaches to the hot shoe mount of a Leica M11, M11-P, M11-D, M11 Monochrom, M10, M10-P, M10-D, M10 Monochrom or M10-R. It then extends over the camera's own thumb rest, both widening and extending it further outward. The carefully-designed shape avoids any interference with the camera's controls, and the fit is said to be seamless and rattle-free.

Three finishes are available: Stainless Silver (constructed from Damascus steel - an especially tough form of steel with distinctive patterning that has historically been used in the construction of sword blades), Frost Gray, and Frost Silver, both of which are made from Crystal Titanium. The steel version weighs in at 37g, while the titanium thumb rests are just 22g.

Whichever finish/material you choose, it's said each thumb rest is precision CNC machined and meticulously finished, resulting in “a tactile feel that clings to your fingers and a high level of sophistication that rivals even Leica camera bodies". And to be honest, the manufacturing quality does appear to be first class, at least judging by the marketing images and video.

At the moment the thumb rest only seems to be available in Japan, where it is distributed through E&I Creation and sold through its 2ndfocus retail store. There you will find the Damascus steel version for 53,000 Yen (approx. $336, £248), while the Frost Gray and Frost Silver titanium options are priced at 36,000 Yen (approx. $228, £168).

Why would I choose to pay an amount for a monocular that could, if I chose another brand, get me either a very capable, sturdy, and long-lasting pair of binoculars or five budget-priced monocular alternatives?

Well, sometimes the ultimate in portability combined with benchmark-raising performance is what I’m after.

Enter the freshly tooled Leica Monovid 8x25 monocular, its key specifications being an at-first-modest-sounding 8x magnification wedded to a 25mm objective lens.

Like the simultaneously released Noctivid Compact 10x25 and 8x25 binoculars from the same manufacturer, this monocular comes with a knurled leather finish, which not only looks great but provides a nicely firm grip.

A compact cylinder measuring 112x40mm, this monocular comes with an attachable wrist strap, a brief instruction manual, and a lens cleaning cloth included, along with a cylindrical, zippered carry pouch fashioned from soft leather to keep my investment protected.

What’s further appealing about this monocular is that it is supplied with an additional, separate, close-up lens. This coin-sized optic has its own placeholder sewn into the lining of the supplied pouch.

When attached to the main body of the monocular, it provides a closest viewing distance of between 25-30cm, whereas, without it, the closest focus distance is a more standard-sounding two meters.

So, while the Leica Monovid 8x25 may be 'just' a monocular at initial glance, is it, in fact, a more versatile and flexible viewing accessory than first meets the eye?

Leica Monovid 8x25: Specifications

Leica Monovid 8x25: Price

While not in any sense 'cheap', the manufacturer’s suggested asking price of $699 / £510 / AU$1,050 here feels almost reasonable for a Leica optical product with that iconic red dot. I, however, need to mention that I could alternatively pay a fifth of that asking price and still bag a well-performing monocular from a recognizable rival. But then it wouldn’t be a Leica.

At the time of writing, I also spotted marginally better deals to be had online if hunting around (fortunately, our widget below does the hard work for you). You’re never going to make massive savings on a Leica – it’s not that sort of product – but, as ever, it pays to do a little consumer research before purchase.

Leica Monovid 8x25: Design & Handling

The single-tube design of this black-liveried monocular might have you thinking at first glance it would be tricky to achieve a tight – not to mention level and steady – grip. Yet in practice, the almost industrial-looking knurled leather surface prevents fingers from sliding about.

I found myself using it with both hands: one to hold the device steady and the other to adjust the focus wheel to achieve critical sharpness. Once I’d alighted on a sharp image, however, I found the monocular could be used single-handedly, further supported by the rubber surround of the twist-up eyecup resting against my eye socket. Attaching the provided strap would also aid stability.

It certainly feels weightier in the palm than the official 152g weight quoted by Leica suggests on paper. The fact that the focus ring is also large and ridged makes finding this crucial control very easy when my eyes are otherwise engaged on the subject matter. Overall, handling is very intuitive. The Leica Monovid 8x25 monocular’s design is very minimalist and pared-back, after all, so it’s not like there are a load of operational options to distract or confuse, aside from the ability to add a close-up lens.

Because this additional/optional lens fits the core slender setup so well, there were a couple of times I forgot I’d previously attached it – and then wondered why I couldn’t focus properly on subjects further away.

Leica Monovid 8x25: Performance

The compactness here suggests a device that potentially could take the place of opera glasses if attending the theater, as well as being used as a general travel device for bringing the faraway closer when sightseeing or on a city break.

It’s also a perfect tool for taking on walks through the countryside, as it won’t weigh me down. And if I spot an unfamiliar and interesting bird in a nearby tree and want a closer look, so much the better. Commendably, I didn’t notice any instances of chromatic aberration when using the Leica Monovid 8x25 monocular, though I was actively searching for such artifacts on bright days and when training its lens on high-contrast subjects.

Despite the diminutive size, there is sufficient rigidity and heft to the monocular that I found it possible to hand-hold the device steady enough to get a commendably wobble-free view of subjects. Okay, so an 8x magnification is not going to be particularly challenging, but it does feel like Leica has attempted to maximize the pleasure and performance that can be had from a unit of this modest size. Fortunately, the degree of detail and clarity here feels exceptional enough to justify the equally exceptional asking price.

If adding the provided extra 25-30cm close-up lens, keeping the intended portion of your subject in frame and in focus is a little trickier, but again detail is such that I was able to pick out the veins in the leaves of the magnolia tree in my garden, and get a close-up of a bee collecting pollen from the bluebells that seem to be almost an invasive species this spring season. That said, I can’t see myself using this lens as much as the core 8x magnification lens that is integral to the device, but I do admire the thought and flexibility provided.

Leica Monovid 8x25: Verdict

Most of us will automatically opt for a pair of binoculars when we want to bring the faraway up close and personal without moving an inch – or when we physically cannot get closer to the subject under observation. By default, then, that makes the even more portable alternative of a monocular a specialist tool. Add the additional cost of owning a Leica-branded monocular, and we are narrowing the possible target market further.

However, there is no denying that in terms of giving a performance that belies its diminutive size and, on paper, an average 8x25 specification, the Leica Monovid 8x25 monocular is one of the sharpest monoculars I’ve handled. Handling of contrast is such that views pleasingly take on an almost three-dimensional depth.

The close-up/macro lens sewn into the carry pouch that can be screwed into position to change close focus to 25-30cm, rather than two meters, adds to the versatility and appeal for any amateur botanist or wildlife watcher. In effect, we are getting a two-in-one tool, which means spending big on this pocket-sized viewer hurts a little less than it would otherwise.

Alternatives

As a purveyor of luxury optical goods, Leica is the go-to German brand for anyone wanting premium binoculars delivering a dizzying level of sharpness, but who maybe doesn’t want to step up to the eye-watering cost of an alternative pair from Swarovski for even greater clarity.

Like its rival, Leica appeals to me not just for its class-leading clarity but, potentially, for offering a product that should last a lifetime of use. Yes, they may be priced at a premium, but there’s no way they’ll make me feel short-changed. Not in the long run.

Leica’s latest Noctivid Compact 10x25 binoculars are all about a small size, yet a big performance. At least that’s the idea. From first pulling them out of the box, they fortunately match the billing by being no bigger in the palm, when folded, than a cassette Walkman. Which means I can slide them easily and conveniently into a jacket pocket for transportation.

Rather than a conventional rubber surround – alternatively available for this unit – I plumped for the even more premium version with a leather finish. Leica says this is the same leather used on its camera models. The surface has an almost industrial-looking, knurled finish, which means it doesn’t slip through the fingers.

Unusually, it also means the device smells great – at least fresh out of the box. I’m not sure how long that will last with prolonged use. However, the price should ensure this is a device that will be taken care of.

Stylish exterior and diminutive form factor aside, the other core points to focus on here are that this Leica product offers a respectable 10x magnification plus a standard-sized 25mm objective lens. But being a Leica, I’m expecting performance that raises the bar above what I’d expect from binoculars with outwardly identical specifications from a regular brand.

So, what I want to drill into now is, does the compactness compromise visibility and operation at all, or does the performance live up to – or exceed – expectations?

Leica Noctivid Compact 10x25: Specifications

Leica Noctivid Compact 10x25: Price

As I’d expect from Leica, its premium look and feel Noctivid Compact 10x25 binos are reassuringly pricey at a manufacturer’s suggested price of $1,099 / £890 / AU$1,790 for the leather-armored version I'm testing. Mind you, that counts as relatively affordable for this brand and the personal status of owning that iconic red Leica logo. There is also a (slightly) cheaper rubber variant at $999 / £765 / AU$1,590.

Interestingly, the equally new Noctivid Compact 8x25 alternative is retailing for the same price at the time of writing. The physical dimensions of this lower-magnification variant are the same; it just weighs fractionally less and has a slightly wider field of view.

More affordable than both these Leica options is the recent, excellent-performing Kenko VcSmart Light 14x30. This portable alternative boasts greater magnification and a larger objective lens, plus built-in image stabilization. The downside is that it does mean a slightly larger and heavier pair of binoculars, but not by much. Check the alternatives at the end of this piece for more.

Leica Noctivid Compact 10x25: Design & Handling

Supplied with a snug soft leather carry pouch, strap, and slide-on plastic eyepiece protectors, the roof prism-type Leica Noctivid Compact 10x25 binoculars are a thing of minimalist beauty in terms of design. At the same time, there’s nothing that feels extraneous or overly flashy to me; everything feels solid and well-made.

Despite being small, the aluminum construction has a definite weight to it that immediately reassures, even if the official 13oz (359g) is comparable to that of a basic point-and-shoot pocket camera. Curiously, the rubber-armored variant of this model weighs slightly more at 13.5oz (379g).

It’s also worth noting that this premium pair is nitrogen-filled to prevent fogging, furthering its suitability for use in the wet and the wild. Leica claims they’ll remain watertight at a depth of 16ft (5m).

The lenses here are tethered to a static metal frame from which they fold outwards or back inwards. This allows for interpupillary distance adjustment, enabling them to line up comfortably and precisely with my own eyes, so what I’m seeing is a perfect circle. Twist-up rubber eyecups also provide a degree of operational comfort and can be adjusted depending on whether you’re wearing glasses.

A familiar non-slip, ridged focus ring is located dead center between the eyepieces. I found this had just the right amount of 'give' to it – not too loose nor stiff – to allow me to tweak focus precisely without having to take my eyes away from the subject being observed. A dioptric adjustment ring encircling the right eyepiece allows for further fine-tuning, if needed.

I don’t have particularly large hands, so I found the Leica binoculars sat well in mine. The sausage-fingered may prefer a larger pair, however.

Operation here is as intuitive as you’d expect a pocket device to be; I plucked these binoculars out of their posh black box and was using them within seconds.

Unobtrusive metal loops to the underside of each lens provide a means of attaching the provided neck strap; the package also includes a lens cleaning cloth and plastic eyepiece caps.

And that’s it – what you see here is what you get. Leica has stripped the Noctivid Compact 10x25 back to the essentials in the aim of compactness and portability, yet, as we’ll see, with little compromise when it comes to performance.

Leica Noctivid Compact 10x25: Performance

A 25mm objective lens size might suggest that, while okay as a general-purpose viewer, the Leica Noctivid Compact 10x25 binoculars might not be the best candidate for low-light work. However, using them toward the end of the day, I was surprised by how sharp, high-definition, and relatively bright they remained.

They consistently deliver a very crisp, contrasty image – so much so that the view appears three-dimensional. While I was mainly using them outdoors, their portable size also presents the option of using them at a concert or in a theater to bring the faraway closer than my ticket might otherwise afford.

My main worry with compact binoculars is always that observation is compromised, with portability being the key deciding factor in their development. That said, I would not expect Leica to put out a product that is in any way sub-par, and fortunately, that’s not the case here.

In fact, I found the outwardly stripped-back Leica Noctivid Compact 10x25 to deliver even better performance than I expected – and to my mind provide a brighter image than some contemporaries with physically larger glass.

Field of view is also respectable, in that I rarely found myself having to remove my attention from the eyepieces when tracking a subject to try to relocate it. The official stats are that the field of view at 1,000 meters is a respectable-for-its-class 100 meters.

Due to the lower magnification of the 8x25 model released at the same time as this one, the field of view at 1,000m is an even wider 120m, which might be preferable for users consistently needing to track flighty subjects.

Similarly impressive is the lack of a noticeable loss of definition toward the edges of the frame. This underscores my impression that the binoculars' performance exceeds what I’d expect from a viewing device of this relatively diminutive size, going some way to justify the price being asked.

Leica Noctivid Compact 10x25: Verdict

The diminutive Leica Noctivid Compact 10x25 binoculars may be pocket-sized, but they go big on performance. Okay, I’m always anticipating great things from one of the best optical brands out there, but still, there seems to have been very little compromise made in bringing these binoculars to market at their weight and dimensions.

If compactness is a key concern, but you don’t want to compromise on quality and can afford the high-ish ticket price, then you won’t go far wrong with the Leica Noctivid Compact 10x25. Particularly if seeking a premium everyday observational device, rather than a specialist tool for a niche viewing purpose.

Alternatives

Thypoch has leaned beautifully into the romance of classic lens design with the Eureka 28mm f/2.8, a new manual focus wide-angle pancake lens inspired by the compact optics of the 1950s.

In a market increasingly filled with larger, heavier, more clinically perfect lenses, the Eureka takes a more nostalgic route, offering photographers something small, tactile, and refreshingly simple. It is available now in silver, black, or white colorways, priced at $459 at B&H, or £329 direct from Thypoch.

The headline here is its size. Protruding just one inch from the camera body, the Eureka 28mm f/2.8 is designed to be genuinely pocketable, making it an easy everyday companion for street photography, travel, interiors, landscapes, and daily documentary work. The 28mm focal length has long been a favorite among photographers who want a wider view without things feeling too extreme, and it gives this lens a pleasingly versatile character for those who like to move through the world with a camera always close to hand.

But this is not just a lens built to look pretty on a camera. Thypoch has given the Eureka a full brass construction, offering the reassuring, mechanical feel that many photographers still crave. Better still, that brass body should develop its own patina over time, meaning the lens will age with use rather than simply wear out visually. For photographers who enjoy gear with personality, that alone gives the Eureka plenty of charm.

Optically, the Eureka 28mm f/2.8 attempts to balance vintage spirit with modern expectations. Its f/2.8 maximum aperture makes it useful in lower-light situations, from nighttime street scenes to concerts and indoor environments, while still offering enough depth-of-field control for environmental portraits and detail shots. A minimum focusing distance of 15.7 inches also adds creative flexibility, letting photographers get closer to subjects than you might expect from such a compact wide-angle lens.

Inside, Thypoch has used one aspherical element, three HRI elements, and a multicoated front element to help deliver sharp, accurate images with low distortion and natural color rendering.

There is also distortion correction to help keep horizontal and vertical lines in check, which should make the lens particularly appealing for interiors, architecture, and travel shooting. Add in its metal barrel and intuitive focus lever, and the Eureka 28mm f/2.8 looks like a lens made for photographers who want character, portability, and a little old-school magic in their everyday kit.

See our review of the earlier Thypoch Simera 28mm f/1.4

Artralab has given its impossibly slim 28mm f/2.8 M-mount lens a rather handsome glow-up, with the full-frame Leica M-mount optic now available in two new finishes: glossy black paint and brass.

On paper, the Artralab 28mm f/2.8 Φ28 already sounded like the kind of lens that would make rangefinder users pay attention. It packs three optical groups and nine glass elements into a body measuring just 1.3cm thick, which is frankly absurd when you consider this is a full-frame 28mm lens designed for Leica M-mount cameras.

For anyone who loves the stripped-back joy of carrying a small camera with a tiny lens, this is exactly the kind of thing that makes the heart beat a little faster.

Of course, small lenses are nothing new in the M-mount world, but Artralab appears to be leaning hard into the idea that compact does not have to mean compromised.

The company is positioning this as an ultra-slim everyday lens for street photography, travel, café hopping, and urban exploration, with the kind of pocketable form factor that makes a Leica-style setup feel even more discreet and ready for anything.

Despite its wafer-thin design, the lens remains 28mm filter-compatible and offers a minimum focusing distance of 0.3m, which should make it more versatile than its tiny proportions suggest.

That closer focusing ability is particularly interesting, as it gives photographers the chance to push beyond simple daily snapshots and bring a little more separation, intimacy, and creative bokeh into close-up scenes.

The new glossy black paint and brass finishes only add to the appeal, especially for those who see their cameras as objects of beauty as much as tools for making pictures.

A slim 28mm lens already feels like a natural partner for an M-mount body, but dress it in black paint or brass, and suddenly it becomes something with a little more soul, a little more presence, and perhaps even a little more danger to the wallet.

Leitz Cine has expanded the creative possibilities of its Hektor mirrorless prime lens range with the introduction of a new interchangeable Fujifilm G mount, bringing the German manufacturer’s distinctive cinema optics to Fujifilm’s larger-format camera system.

The move opens the door for filmmakers and photographers working with Fujifilm’s G mount cameras, including the GFX Eterna 55 extra-large format cine camera and the GFX100 series of mirrorless digital cameras, to pair their systems with Leitz Cine’s increasingly popular Hektor lenses. For those already invested in the range, the new mount offers a welcome level of flexibility, allowing the lenses to move more easily between camera ecosystems.

Customers will be able to purchase Hektor lenses directly with the Fujifilm G mount fitted, or buy the G mount separately and change it themselves. Leitz Cine says the mount change is relatively quick and simple, requiring only a few tools, making the system particularly appealing to creators who regularly work across different camera platforms. The Hektor line is also available in Sony E, Leica L, Canon RF, and Nikon Z mounts.

“As formats and camera systems continue to evolve, we are happy to be working with so many manufacturers to ensure that the creatives using their cameras have access to some of the most exciting new lenses like the Leitz Hektor series,” said Rainer Hercher, Managing Director of Leitz Cine.

Although the Hektor lenses were originally designed for full-frame coverage, they produce a much larger image circle, making them a natural fit for the expanding world of larger-format image capture. While not every focal length can be used in full-sensor open gate mode on Fujifilm GFX systems, the lenses are said to support traditional cinema aspect ratios, with only minimal edge cropping required on the widest focal lengths.

Leica has never been a brand that lets an anniversary pass quietly – and for the 20th anniversary of its Ginza store in Tokyo, Japan, it has gone straight for the collector’s heart.

The company has announced a limited-edition Leica M-A Hammertone “Leica Store Ginza 20th Anniversary”, with just 100 units produced to mark two decades since the opening of Leica Ginza in April 2006.

That store was not just another boutique opening. Leica Ginza was the world’s first directly-managed Leica store and, in many ways, helped set the tone for the modern Leica retail experience we know today.

Since then, Leica has grown its direct retail presence to around 120 stores worldwide, blending physical locations, ecommerce and auctions into a model that feels very Leica: premium, controlled and carefully curated.

The camera chosen for this anniversary is the Leica M-A, arguably one of the purest expressions of Leica photography still available today.

Based on the Leica MP, the M-A strips things back even further by removing the light meter entirely, creating a fully mechanical rangefinder that needs no batteries and asks the photographer to rely on experience, instinct and a little bit of faith.

For anyone who still believes photography should be felt as much as measured, the M-A remains one of Leica’s most romantic cameras.

This limited edition model adds a few details that will no doubt make collectors reach for their gloves. The front of the body is engraved with “20 Jahre” to mark the 20th anniversary, while the top cover carries the classic Leica script logo.

But the real talking point is the grey hammertone paint finish, applied to the top cover and base plate, giving the camera a textured, industrial look that feels both vintage and wonderfully serious.

Hammertone finishes have long been associated with precision technical equipment, particularly in Germany, and Leica says that Ernst Leitz Wetzlar used it from the late 1950s on larger products such as microscopes, slide projectors, enlargers and the Leicina Super 8 cine camera.

It was far rarer on Leica cameras themselves, appearing on niche models such as the Leica MD copying camera and the Leica MS prototype for handheld aerial photography – both of which are now highly prized by collectors.

The Leica MA Hammertone “Leica Store Ginza 20th Anniversary” is now available at Leica stores throughout Japan.

Alongside the camera, Leica Gallery Tokyo will also mark the anniversary with Timeless Vision, a 20th anniversary exhibition running from April 26 to July 21.

The show features 35 works by 12 photographers from Japan and abroad, including names such as Elliott Erwitt, Sebastião Salgado, Henri Cartier-Bresson, Robert Doisneau, Bruce Gilden and Marc Riboud.

It is Leica doing what Leica does best: celebrating not just the camera, but the culture, history and mythology that surrounds it.

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Make sure to check out the best film cameras on the market today. Or, if you want the classic looking filled with modern mirrorless camera technology, take a look at the best retro cameras.

Leica has officially confirmed what many in the industry had been quietly wondering about for months: it is developing a next-generation image sensor in partnership with Gpixel.

The strategic collaboration between Leica Camera AG and the global CMOS sensor specialist signals a major shift for the storied German brand, which is once again pushing toward a more bespoke approach to the digital heart of its future cameras.

The news adds weight to comments made late last year by Dr. Andreas Kaufmann, chairman of Leica’s supervisory board and majority shareholder, when he revealed on the Leica Enthusiast Podcast that the company was developing its own image sensor again. That sparked plenty of speculation at the time, because while designing a sensor is one thing, actually bringing it to life at scale is another entirely. Now we know Leica is not going it alone, but instead teaming up with a specialist that has the engineering depth to help turn that ambition into something real.

That partner is Gpixel, a Chinese sensor maker with a growing global footprint and a strong reputation across medical, scientific, industrial, and professional imaging. It may not yet be a household name among everyday photographers, but it has the technical credentials to make this partnership genuinely interesting. Gpixel’s catalog includes everything from high-resolution backside-illuminated sensors to stacked designs and even full-frame global shutter chips, making it a serious player with the kind of expertise Leica clearly sees as valuable.

Importantly, Leica says this is not about dropping an existing Gpixel sensor into a future camera body and calling it innovation. Instead, both companies are working on a fully bespoke high-performance sensor tailored specifically for next-generation Leica cameras. Leica says the goal is to optimize image quality, dynamic range, color fidelity, low-light performance, noise control, and resolution to meet its own exacting standards, while the two firms will also work closely on tuning and eventual mass production.

In many ways, this feels like a natural next step for Leica. The company has never really been content with simply following the wider market, and its cameras have long been defined as much by their rendering and photographic character as by their specs sheets.

Dr. Kaufmann said he was “really happy and proud” that the long-term cooperation with Gpixel would result in “a true Leica sensor,” while Gpixel CEO Xinyang Wang described the collaboration as a chance to combine sensor-engineering strength with Leica’s legendary imaging heritage. That sort of language suggests both sides see this as more than a supply deal; it is a chance to shape something distinctive.

In a camera world where Sony and Canon dominate sensor conversations, Leica’s move is a fascinating one. There is still no timeline for when this new sensor will appear in an actual camera, and Leica is keeping the finer details firmly under wraps for now.

But if this partnership delivers what it promises, it could become one of the most significant sensor developments in years, not just for Leica, but for the wider photography industry as well. At the very least, it opens the door to a future Leica camera built around a sensor designed not for the mass market, but for Leica’s own uncompromising vision of image-making.

Check out the highest-resolution digital cameras you can buy today 

It looks like Sony shooters won't be the only ones shown some love by Thypoch as it has revealed that the 24-50mm f/2.8, the forthcoming, first-ever, autofocus (AF) zoom lens produced by a Chinese company will be made available for Nikon Z-mount and Leica M-mount too.

Thypoch made the announcement on Instagram with a post that also stated the coming 24-50mm f/2.8 zoom will be officially showcased at the NAB show which has just opened in Las Vegas.

While this marks the official unveiling of the lens, I actually got my hands on it back in March at The Photography & Video Show in Birmingham, UK.

It was in the comments on the Instagram post where Nikon confirmed the wider roll-out of the 24-50mm zoom to camera systems beyond Sony, but made it clear that “E-mount comes first”.

The announcement will come as great news to Nikon shooters as there’s currently only a limited selection of Z-mount lenses on the market which cover the 24-50mm focal length. Aside from the native Nikkor Z 25-50mm f/4-6.3, there’s the Tamron 28-75mm f/2.8 Di III VXD G2, a compact, fast aperture standard zoom, but not much else.

The maximum f/2.8 aperture of the Thypoch lens should really hit the mark with Nikon users, especially when combined with what will likely be a very reasonable price – at least that’s my prediction.

Leica rangefinder shooters will be even happier as, currently, there's no native M-mount zoom lens dedicated to 24-50mm nor has any other third-party manufacturer tried to capture this segment of the market.

Going back to the Instagram announcement, Thypoch also highlighted discounts on the Simera range, but there was no mention of any other lenses to be showcased at NAB later this week.

However, I think it’s a given that the recently revealed Ksana 35mm f/2 M-mount ASPH lens will also be officially unveiled. But guess what, I also had a play with this at The Photography & Video Show.

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Check out our expert reviews of the best Nikon Z-mount lenses and the best Leica M-mount lenses. We’ve put all these pieces of kit through rigorous, hands-on testing so you know exactly which one to buy.

Leica has launched its new Noctivid Compact binocular and Monovid monocular, revealing a redesigned line that aims to bring the optical performance of its flagship Noctivid series into a smaller form..

The new Noctivid lineup includes the Noctovid Compact 8x25 and 10x25 binoculars – , as well as the Monovid 8x25 monocular. Each model emphasizes portability and usability, geared towards a range of scenarios from travel and hiking to urban observation.

According to Leica, the new Noctivid line represents a “complete redesign,” pairing updated optical construction with a more compact, lightweight build. Most notably, the company says the new range boasts a wider field of view, despite the pocket-sized build.

Compared with the original Noctivid series, which already offered competitive viewing, the new models are designed to deliver a more immediate and expansive visual frame. This wider perspective allows users to take in more of a scene at once, particularly useful for tracking wildlife or scanning detailed environments without constant repositioning.

Crucially, Leica maintains that this broader field of view doesn’t compromise optical precision. Wider viewing angles in compact binoculars often result in edge distortion or reduced sharpness, but the company says the Noctavid range preserves edge-to-edge clarity.

Both binoculars and monocular are waterproofed with a depth rating of 16 ft / 5m.

Both pairs of Leica Noctovid binoculars are available for $1,099 /£890 / AU$1,677 in a black leather finish. Alternatively, you can get them in a black rubber-armored $999 /£765 / AU$1,677.

The leather-armored Monovid monocular will retail for $699 / £510. Australian pricing is not yet available.

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See our guides to the best compact binoculars and our guide to the best monoculars

Leica connects photography and culture for decades – now its new flagship store and gallery in Chicago opens on April 30, with a special camera launch that celebrates culture on a national scale: the Leica Chicago Edition 17.

After releasing one of its most legendary camera designs to celebrate the 100th anniversary of the first mass-produced 35mm camera – the Leica M11 "100 Years of Leica New York USA" – the Leica Chicago Edition 17 sits in the spotlight.

As this year marks the 50th anniversary of Leica Galleries, Leica opens a year-round hub for its creative community in Chicago, highlighting the brand's historical and contemporary significance in photography.

Leica lands in Chicago

Chicago is famous for architectural innovation and visual storytelling, and it is one of the most sought-after destinations, often described as a "photographer's dream" due to its historical significance and diversity.

In accordance with that, Leica brings its first flagship store and gallery to the Windy City at the Gold Coast. Located in a historic building with a listed Arts and Crafts-style façade on North Michigan Avenue in Chicago, the store spreads over two stories and 400 m².

The creative hub is a first-of-its-kind immersive concept – a celebration of photography as both craft and cultural record, standing as an inspiration for photographers.

Changing exhibitions are planned with the gallery opening with America Unposed by Leica photographer Craig Semetko. Creatives can expect hands-on workshops through the Leica Akademie, interactive camera experiences, and more… Like the limited Chicago Edition 17 camera.

Leica "Chicago Edition 17"

With the Chicago Edition 17, Leica is creating a global cultural dialogue, as this special camera is a tribute to the building's 1917 origins.

The limited edition will be available exclusively at the flagship store and is expected to sell out during the grand opening weekend.

For more information, visit the Leica Store website.

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To mark 50 years of Leica Galleries, Leica Gallery London is set to present a striking celebration of photographic history, bringing unseen large-scale works by Lillian Bassman to this year’s Photo London, while also unveiling a rare exhibition of vintage Brian Duffy portraits at its Mayfair gallery.

It is a fitting way to honour five decades since the opening of the very first Leica Gallery in Wetzlar, with two showcases that underline the enduring cultural pull of both the brand and the photographers who helped define its legacy.

At Photo London, now taking place at its new home in Kensington Olympia, Leica Gallery London will focus on the extraordinary work of American photographer, art editor, and painter Lillian Bassman.

The presentation will centre on unseen oversized fashion portraits, images that emerged after her work was revisited in the early 1990s by fashion photography curator and art historian Martin Harrison while staying at her home. That rediscovery prompted Bassman to return to her archive, reworking negatives and revisiting the bleaching and toning techniques she had first experimented with back in the 1940s.

The results were images Bassman described as “reinterpretations”, atmospheric and painterly works that felt both timeless and ahead of their time. With their high-contrast tones, ghostly elegance, and beautifully abstract quality, they introduced her work to a whole new audience and sparked a major revival of her career. What followed were gallery shows, museum exhibitions, and a renewed international appreciation of a photographer whose vision had always stood apart from the crowd.

Her later years saw an extraordinary run of recognition, including a joint retrospective with her husband Paul Himmel at the Deichtorhallen in Hamburg, a solo show at Hamiltons Gallery in London, exhibitions at the Carrousel du Louvre in Paris, and, in 1996, a final haute couture assignment for The New York Times Magazine.

Inspired by the photographers she published during her time at Harper’s Bazaar, names such as Richard Avedon, Robert Frank, and Louis Faurer, Bassman’s work is defined by its dreamy sophistication, slender couture silhouettes, and darkroom experimentation using tissue, gauze, and bleach to shape tone and mood. The grand-scale prints shown by Leica were produced in collaboration with master printer Chuck Kelton when Bassman was already in her mid-eighties, which only adds to their quiet sense of wonder.

Alongside Bassman’s work, Leica will also present a small group of vintage Lith prints by Deborah Turbeville, shot in 1975 and referenced in Diana Vreeland’s book Allure. These will sit beside a carefully chosen selection of vintage and special prints by some of Leica’s most celebrated photographers, including Bruce Davidson, Terry O’Neill, Eve Arnold, Steve McCurry, William Klein, and Henri Cartier-Bresson. Together, the display feels not just like an exhibition, but a celebration of Leica’s wider photographic heritage.

Back in Mayfair, Leica Gallery London will open SHOT – Photographs by Brian Duffy from 9 May until 9 July, giving collectors a rare opportunity to acquire vintage prints by one of the defining photographic voices of the 1960s. For the first time, some of Duffy’s most famous images will be available as rare vintage printings, offering a glimpse into the work of a photographer whose influence stretched far beyond fashion pages and into the wider visual identity of an era.

Of Irish descent and a member of the so-called Black Trinity alongside David Bailey and Terence Donovan, Duffy brought energy, attitude, and technical brilliance to everything he photographed. Originally trained at art school before studying dress design, he first worked as an illustrator for Harper’s Bazaar, only turning to photography after seeing a contact sheet and realising just what a camera could do.

His first commission came from Vogue editor Audrey Withers, and it had to be shot on a Leica at the request of the sitter, who had recently suffered a stroke and needed a quieter camera. From there, Duffy built a career photographing women, portraiture, and solving visual problems with an ease that made him one of the most revered photographers of his generation.

Sitters in the exhibition include Michael Caine, David Hockney, Jean Shrimpton, Grace Coddington, Len Deighton, Arnold Schwarzenegger, and Harry Secombe.

There is a lot to be said for the modern obsession with more. More megapixels, more lenses, more gear, more options, more excuses to carry a bigger bag than we really need.

Photography, for many of us, has become a constant chase for flexibility, as though every possible focal length needs to be within reach at all times.

But the more time I spend shooting in the real world, away from the pressure of professional sports and closer to the quieter rhythm of documentary and street photography, the more I find myself asking a very simple question: Is one camera and one lens actually the best way to improve the way we see?

Back when I worked as a professional sports photographer, I had a bag full of glass because the job demanded it. You cannot walk into a live sporting event under real pressure and hope one lens will cover every situation. You need the right tools for the task, and in truth I had many lenses that helped me get the job done.

Yet even then, when I look back honestly, I really relied on just two: a 200mm f/2 and a 600mm f/4. Those were the lenses I trusted, the lenses I understood, and the lenses that became extensions of how I worked. So while I may have had a choice, the reality is that even in the most demanding environment, I was already leaning toward consistency rather than endless experimentation.

These days, my photography has changed dramatically. I am no longer standing on the touchline waiting for the decisive moment in a match. I am photographing the world around me in a far more observational way, in a style that sits somewhere between documentary and street photography.

For a long time, I have been predominantly a 50mm shooter. It is a focal length I know well, one that has served me beautifully in capturing people, places, and the environments they inhabit. But recently I felt I needed a change, not because the 50mm had let me down, but because I wanted to challenge myself a little more. So I picked up a Leica 35mm Summarit-M f/2.5, which I genuinely think is one of the most underrated lenses in the Leica lineup, and I fixed it to my camera for months.

What happened surprised me a little, even though perhaps it should not have. My compositions improved. Not in some dramatic overnight fashion, nor because the lens itself carries some magic, but because I had committed to a single focal length and stopped second-guessing everything.

I began to see in 35mm. Frames started to present themselves more naturally. I was no longer pausing to wonder whether another lens might do the job better. Instead, I worked with what I had, and in doing so, I became more decisive, more instinctive, and oddly enough, more relaxed. My mood toward photography improved as well, because the process felt lighter and more honest. I was no longer negotiating with my bag. I was responding to the world in front of me.

That, I think, is where the real value of one camera and one lens comes in. It is not about limitation for limitation’s sake, and it is certainly not some rigid rule that should be preached as gospel. It is about removing friction.

I used to head out with a compact camera bag containing either my digital Leica or my film Leica, depending on my mood, and then maybe a lens mounted on the body, plus a wide-angle and a telephoto just in case. It sounded sensible at the time, but in practice, it often created hesitation. When I came across something worth photographing, I did not always know which lens I wanted to use. Should it be the 50mm? Should I switch to the 28mm? Would the 135mm make for a tighter, more interesting frame? - Those few seconds of indecision matter, not only because moments can disappear, but because they pull you out of the flow of seeing.

With one camera and one lens, all of that hassle disappears. If I want to get closer, I move closer. If I want more of the scene, I step back. It really is that simple. Yes, it sounds primitive, and perhaps in an age of technical perfection, that is exactly why it works so well.

There is something wonderfully direct about it. You are no longer leaning on equipment to solve visual problems for you. You are solving them yourself, with movement, with patience, and with judgment. And perhaps more importantly, you become quicker not just at taking photographs, but at deciding what is actually worth photographing in the first place.

That last point matters more than people sometimes realize. Photography is not just about framing what is there. It is also about editing in real time. The more options you carry, the easier it is to photograph everything and figure it out later.

But when you commit to one focal length, you start making better decisions before you even lift the camera to your eye. You begin to understand what suits your way of seeing and what does not. You become more selective. More intentional. And in a strange way, more confident.

I have found myself taking pictures without thinking about focal length at all, and guess what, nothing bad has happened. In fact, I have enjoyed photography more because of it.

Perhaps that is the biggest lesson in all of this. Most of us started photography with one camera and one lens, usually some modest kit lens, and we loved every minute of it. We were not worried about building the perfect setup or covering every possible scenario. We were excited by the act of taking photographs.

Somewhere along the way, many of us replaced that simplicity with complication. We convinced ourselves that more gear meant better work, when often it just meant more decisions and more distractions. Now that I am older, more experienced, and perhaps a little wiser, I find myself returning to that simpler approach and discovering that it still has plenty to teach me.

So, is one camera and one lens the real choice to improve your photography? I think for many people, yes, it might be.

Not because it is the only way to work, and not because every genre allows for it, but because it forces clarity. It teaches you to see, to move, to react, and to trust your instincts.

For me, spending months with just a Leica and a 35mm Summarit-M f/2.5 has not only sharpened my compositions but also renewed my enjoyment of photography itself. And in the end, that might be the clearest sign of all that they are onto something.

The Leica SL2, once a flagship model in Leica's impressive full-frame mirrorless lineup, has just dropped to just $4,795.28 at Amazon. It's not the best price we have ever seen, but Leica has suffered from more tariff increases than

Equipped with a remarkable 47.3MP full-frame CMOS sensor and the advanced Maestro III image processor, the SL2 is more than capable of producing stunning images and breathtaking 5K video.

With fast and fluid performance, the SL2 allows for continuous shooting at an impressive 20 frames per second and offers 6 fps shooting with autofocus in continuous mode. It excels in video recording as well, providing DCI 4K60 video with 10-bit color sampling, ensuring vibrant and rich color depth for professional-grade footage.

The Leica Object Detection AF system enhances the SL2's autofocus capabilities, utilizing 225 selectable AF areas for fast and accurate focus tracking. Additionally, a sophisticated 5-axis sensor-shift image stabilization system works to minimize the effects of camera shake, making handheld shooting more stable and delivering sharper results.

This offer presents a fantastic opportunity to own a high-performance Leica camera that continues to deliver exceptional results in both photography and videography.

Check out our review of the newer Leica SL3 and see our guide to the best Leica SL lenses

Sport photography is one of the most demanding genres – and shooting it with a manual-focus camera is nothing short of extraordinary. But photographer Jacek Salaga did it, now recognized with a top photography award.

The image Half a Second Before captures a fleeting instant: a wrestler suspended mid-air. The precision and timing required to capture this fraction of a second highlight Salaga's technical mastery.

Salaga's skills were awarded with the Event category award at the LCE Photographer of the Year competition – but if you've seen the live announcement at The Photography & Video Show, this is no big news.

The no-autofocus gear

To capture the moment, Salaga relied on a Leica M10-R – a stylish rangefinder that does not feature AF (autofocus). He paired it with the Leica Summicron-M 28mm f/2, a wide-angle manual-focus lens, and a Godox strobe for lighting – also entirely manual.

Salaga explains, "The 'Half a Second Before' photo was taken during a wrestling event in Denmark. Fast growth of interest in this form of entertainment has turned it from almost unknown to very popular, with major events sold out in the ticket presale."

Award-winning technical skills

Capturing sharp action in milliseconds without AF sounds impossible – but Salaga pulled it off. While some third-party adapters can add AF to certain lenses, this was probably not used here, as it's not evident in the shot details (EXIF Metadata).

Most likely, the photographer relied on zone focusing, a technique widely used in street photography.

By pre-setting the lens to the expected action zone and using an aperture of f/10, Salaga maximised depth of field to keep the scene sharp. The 1/180 sec shutter speed, combined with a strobe flash, helped freeze motion perfectly.

And flash doesn't automatically make an image sharp. While the strobe helped freeze the wrestler mid-air, focus still had to be precise.

With these settings – plus the right experience and anticipation for the sport – he was able to capture fast-moving action using a manual-focus-only setup.

For more insights and to see all winners, visit the LCE Photographer of the Year website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from March to July.

Japan's newest compact camera charts are in, and Yodobashi's latest top 10 reveals some familiar favorites – and models that we haven't seen in a while... or ever before.

Leading the pack once again is the Fujifilm X100VI, rated as the best retro camera in the compact category. Since its release two years ago, it has been in constant stockout, leaving photographers worldwide with empty hands.

The previous top-seller has dramatically dropped to No.10. The Ricoh GR IV Monochrome couldn't maintain momentum, as high demand and limited stock created challenges for buyers.

Yodobashi's Top 10 compact cameras (2nd half Feb)

1. Fujifilm X100VI Silver | Black
2. Canon PowerShot SX740 HS / Lite Silver | Black
3. Sony ZV-1 II Black | White
4. Canon PowerShot G7 X Mark III Black | Silver
5. Kodak Pixpro C1 Brown | Black
6. Leica Q3 43
7. Panasonic Lumix TZ99 / ZS99 Black / White
8. Canon Ixy 650 M / PowerShot Elph 360 HS A / Ixus 285 HS A Black | Silver
9. Ricoh GR IV
10. Ricoh GR IV Monochrome

The King is back: the Fujifilm X100VI

The Fujifilm X100VI is famously hard to find.

If it's not fighting chronic stock shortages, photographers get a classic rangefinder styling with modern APS-C performance, a 35mm equivalent prime lens, and intuitive dial controls.

Its blend of style, performance, and nostalgia keeps it coming back to No.1 whenever stock allows.

Leica celebrates first listing triumph

Making its first appearance in Yodobashi's best-selling compact cameras this year, the Leica Q3 43 ranked No.6.

While premium pricing keeps it from the very top, Japan's growing appetite for high-end quality is evident – and not only in the compact camera category. In Yodobashi's top 10 best-selling mirrorless cameras, the Hasselblad X2D II 100C has been in top positions over the past months, yet it hasn't reached No.1.

The Leica Q3 43 is based on the original Q3, but with a longer 43mm lens, it offers a fresh perspective. The camera features a 60MP sensor, color and monochrome styles, and Leica's renowned build quality, available for $7,950 / £5,890.

Canon dominates & Ricoh struggles

Canon rules the ranking, with three compact camera models in the top 10: the Canon PowerShot SX740 HS / Lite, Canon PowerShot G7 X Mark III, and PowerShot Elph 360 HS A (aka Canon Ixy 650 M or Ixus 285 HS A).

Kodak's Pixpro C1 and Panasonic Lumix's TZ99 / SZ99 remain steady further down the list, but Ricoh's GR IV and GR IV Monochrome couldn't maintain their positions, landing on No.9 and No.10.

The Ricoh GR IV Monochrome had shot to No.1 upon release, but high demand and stock shortages probably prevented it from holding the top position.

What's next?

While a new contender has entered the top 10, familiar models continue to dominate rankings months after month.

Standout examples include the Canon PowerShot SX740 HS / Lite, Panasonic Lumix TZ99 / ZS99, or the Kodak Pixpro C1.

Both the Canon and Panasonic Lumix models are priced around $550-$690 / £480-£520, while the PowerShot SX740 HS / Lite remains a long-standing updated version since the camera's original launch in 2018.

The most affordable camera is the Kodak Pixpro C1 – standing out as a budget compact camera available for $99.99 / £79. It frequently claimed the top spot at Yodobashi last year, and there's a strong likelihood it could climb back into the top three.

It will be interesting to see if the Fujifilm X100VI can defend its top spot in March – or if stock shortages once again hinder its momentum.

For now, both silver and black versions are still available at Yodobashi...

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Leica has appointed Andreas Voll as its new chief executive, marking a leadership change at the historic German camera maker as it continues to position itself as a premium technology brand.

Voll, 44, will officially take over the role on April 1, succeeding Matthias Harsch, who has led the company since 2017. Leica confirmed the transition on Sunday, noting that Harsch’s contract concludes at the end of March after nearly eight years guiding the iconic photography brand.

The incoming CEO brings extensive experience from the luxury sector. Voll spent 15 years in management roles at a leading Swiss watch company, where he built a reputation for strategic leadership within high-end consumer technology and luxury goods.

Leica’s leadership believes that his background aligns closely with the company’s continued push to strengthen its position at the intersection of premium design, advanced imaging technology, and global brand recognition.

Leica's majority owner and chairman of the supervisory board, Andreas Kaufmann, praised the outgoing chief executive while highlighting the company’s recent success. He credited Harsch with helping Leica expand its position as a premium photography and optics brand while also opening new business opportunities. Under Harsch’s leadership, Leica significantly strengthened its presence in global markets and broadened its reach beyond traditional cameras.

Kaufmann told dpa that incoming chief executive Voll was a leader with extensive international management experience and proven expertise in premium technology, brand management, and strategic corporate development. The appointment signals Leica’s intention to continue expanding its global footprint while reinforcing its identity as a luxury technology brand rooted in heritage but focused on innovation.

Financially, Leica has experienced strong momentum in recent years. Under Harsch’s tenure, the company recorded several consecutive revenue milestones. Most recently, Leica Camera AG reported revenue of €596 million ($685m) for the 2024/25 financial year ending March 31, representing a 7.6 percent increase and the highest annual revenue in the company’s history.

Leica, headquartered in the central German city of Wetzlar, employs around 2,300 people worldwide and has benefited from renewed interest in premium compact cameras. The company has increasingly leaned into the high-end segment of the market, producing luxury imaging products that combine traditional craftsmanship with cutting-edge digital technology. In February, Harsch unveiled a global version of Leica’s premium Leitzphone at the Mobile World Congress in Barcelona, a device carrying a price tag of £1,700 / €1,999 / AU$2,299.

Ownership of the company remains largely in the hands of Kaufmann, who controls a 55 percent majority stake in Leica Camera AG. The remaining 45 percent is owned by financial investor Blackstone. Recent speculation has suggested the possibility of a majority stake sale, though Kaufmann declined to comment directly on the rumors.

"At present, there are rumors in the market which we do not comment on," Kaufmann said. He also pointed out that all family members work at Leica or its subsidiaries. "That means we are strongly committed and plan to remain so for the future."

A long-running effort to bring classic Contax G lenses to modern Leica M cameras has reached a major milestone with the announcement of a new 28mm conversion kit.

The project, led by lens specialists Funleader and Mr. Ding, focuses on adapting the iconic optics from used Contax G1 and G2 cameras for use on Leica’s legendary rangefinder platform, without permanently modifying the original lenses.

For photographers who appreciate vintage glass but shoot with modern Leica bodies, the project represents a thoughtful bridge between two celebrated systems.

The Contax G system, developed in the 1990s by Contax in collaboration with Carl Zeiss, quickly earned a reputation for its exceptional optical quality. Lenses such as the Planar 35mm f/2, Planar 45mm f/2, and Biogon 28mm f/2.8 became favorites among enthusiasts for their sharpness, character, and distinctive rendering.

Although the Contax G cameras themselves were discontinued years ago, the lenses have remained highly sought after, particularly among photographers who appreciate classic optics but want to use them on modern digital cameras.

Interest in adapting these lenses to Leica M bodies has existed for years, but doing so without permanently altering the lenses has always been a challenge. The Contax G to Leica M conversion project addresses that issue with a non-destructive approach.

Instead of modifying the optics or replacing the original mount, the conversion kits are designed to integrate with the lens while keeping the original Contax G structure intact. This means the lenses retain their original design and can, in theory, be returned to their native configuration.

Development of the conversion series began in 2019 with the introduction of the first G35 kit, allowing the popular Planar 35mm f/2 to be used on Leica M cameras. The initial release was well received and sold out quickly, encouraging the team to refine the concept further.

Two years later, the G45 conversion for the Planar 45mm f/2 was introduced, featuring smoother focus damping and improvements to the internal mechanical design. Those updates eventually informed the release of the G35 v2.0 in 2025, which included a redesigned focusing mechanism based on user feedback.

The newest addition to the lineup is the G28 conversion, announced in 2026. For this version, the designers selected a combination of materials intended to balance durability with manageable weight. Brass components are used within the internal structure to ensure long-term stability and precision. At the same time, the exterior housing is crafted from aluminum to keep the lens lightweight and practical for everyday shooting.

Together, the three conversions create a versatile focal length range that many photographers rely on for daily work. The 28mm Biogon offers a classic wide-angle perspective ideal for street and travel photography, the 35mm Planar serves as a versatile documentary lens, and the 45mm Planar provides a natural standard field of view.

With all three now available, Funleader and Mr. Ding have effectively completed a key chapter in the Contax G conversion project, while leaving the door open for future developments that may continue bringing vintage optics into the modern Leica ecosystem.

At the time of writing, the conversion will currently cost you $469 / £354.34 / $671.70 AUD