The Leica Summilux-M 50 f/1.4 belongs to Leica’s Classic Line, a collection that revisits some of the company’s most important and characterful lenses while updating them for modern production and contemporary digital cameras.

It is important to clarify exactly what this lens is, because its appearance could easily lead someone to assume that it is merely the current Summilux-M 50mm f/1.4 ASPH. housed within a more traditional barrel. That is not the case.

The Summilux-M 50 f/1.4, model 11714, is a true reinterpretation of Leica’s historic pre-aspherical Summilux design. It does not contain an aspherical element, nor does it attempt to offer the same highly corrected rendering as Leica’s current Summilux-M ASPH.

Instead, Leica has returned to a traditional seven-element, five-group optical formula inspired by the second-generation Summilux-M introduced during the early 1960s. Modern glass, coatings and manufacturing tolerances have naturally been applied, but the fundamental intention remains classical.

This gives the lens a very different purpose from Leica’s current aspherical alternatives. The modern Summilux-M 50mm f/1.4 ASPH. is designed to produce strong contrast, excellent sharpness and a highly controlled image from its widest aperture. The 50 Summilux f/1.4 is intended to offer a more expressive and artistic interpretation, particularly when used between f/1.4 and f/2.8.

That makes it a fascinating lens in the modern era. Most contemporary optics are designed to remove every visible imperfection, resulting in images that are technically excellent but can sometimes feel clinically precise. The Summilux-M 50 f/1.4 takes a different approach, allowing some of the glow, softness and gentler contrast associated with vintage lenses to remain part of the image.

However, this is not a lens that is permanently soft or limited to producing one particular look. Once stopped down, it becomes considerably sharper and more controlled, giving photographers the choice between a vintage aesthetic and a more modern result simply by changing the aperture.

Leica 50mm Summilux-M f/1.4 Specifications

Mount: Leica M-mount
Lens design: 7 Elements in 5 Groups
Maximum aperture: f/1.4
Minimum aperture: f/16
Angle of view: 45°
Minimum focusing distance: 27.6" / 70 cm
Filter size: 46 mm (Front)
Dimensions: ø: 2.3 x L: 1.8" / ø: 58 x L: 45mm
Weight: 14.7 oz / 417 g

Leica 50mm Summilux-M f/1.4 key features

The Leica Summilux-M 50 f/1.4 is built around a 50mm focal length, which remains one of the most natural and versatile choices available for the M system. It provides a field of view that works equally well for portraiture, street photography, documentary work, travel and general everyday use.

Its maximum aperture of f/1.4 makes it particularly suited to low-light photography and provides plenty of control over depth of field. More importantly, the aperture is central to the character of this lens. Changing the f-stop does not simply adjust exposure or the amount of background blur; it noticeably alters the overall personality of the image.

The optical construction consists of seven elements arranged in five groups, with no aspherical element. This is central to the way the lens renders, especially at wider apertures. Rather than attempting to deliver completely uniform sharpness and contrast at f/1.4, it produces a gentler result with a subtle glow and smoother transition between focused and defocused areas.

A 12-blade aperture diaphragm helps maintain rounded out-of-focus highlights as the lens is stopped down. The bokeh is one of the lens’s defining features, particularly between f/1.4 and f/2.8, where backgrounds take on a soft, almost painterly appearance.

The lens focuses down to 0.7 meters, which is the traditional minimum focusing distance for many Leica M lenses. Unlike the latest close-focusing Summilux-M ASPH., there is no extended range below 0.7m, but the entire focusing range remains compatible with a conventional optical rangefinder.

This also means there is no point at which you are forced to move from the optical rangefinder to Live View or an electronic viewfinder. The lens operates consistently from infinity down to its minimum focusing distance, whether mounted on a classic film M, a digital rangefinder such as the Leica M240 or an EVF-based camera such as the Leica M EV1.

The silver-chrome model 11714 is constructed from solid brass and weighs 417g. It uses an E46 filter thread and includes Leica’s six-bit coding, allowing compatible digital M cameras to recognize the lens and apply the appropriate metadata and in-camera corrections.

A removable round hood is available and follows the vintage styling of the lens. Unlike the integrated pull-out hoods found on many of Leica’s newer close-focusing lenses, this hood adds some length and bulk to the package. However, considering the weight of the solid-brass lens itself, the hood is unlikely to make a meaningful difference to the overall balance.

Leica 50mm Summilux-M f/1.4 Build and handling

The Leica Summilux-M 50 f/1.4 looks absolutely fantastic. Its silver-chrome finish, engraved markings and traditionally shaped controls immediately distinguish it from Leica’s more modern lenses.

The build quality is outstanding, as you would expect from Leica. The solid-brass construction gives the lens a dense and substantial feel that is quite surprising when you first pick it up. It is relatively compact, but at 417g, there is no mistaking its weight.

This is not necessarily a criticism. The weight contributes to the sense that you are using something designed to last for decades rather than a lightweight accessory that might be replaced with the next generation. Nevertheless, photographers looking for the smallest and lightest possible 50mm lens should be aware that this is a heavy optic for its dimensions.

Mounted on the Leica M EV1, the lens felt extremely solid and well balanced. The additional weight at the front was noticeable, but it never made the camera uncomfortable to use. It also paired beautifully with my Leica M240, where its traditional appearance felt entirely at home on the older digital M body.

The scalloped focusing ring is one of the lens’s most distinctive physical features. It gives the barrel a genuine vintage appearance while also providing a comfortable and secure surface for focusing.

The focusing movement was extremely smooth, with the precise level of resistance needed for making small adjustments at wider apertures. Compared with my modern Summilux-M 50mm f/1.4 ASPH., I felt that the focusing ring moved slightly farther around the circumference of the lens barrel.

In practice, however, the difference was not particularly dramatic once the lens was mounted on a camera. In fact, I appreciated the little bit of extra movement because it gave me more room to make fine adjustments and achieve critical focus, particularly when shooting at f/1.4 or f/2.

This was especially useful on the Leica M EV1, where the electronic viewfinder and focusing aids made it possible to see exactly where the plane of focus was falling. The longer, smoother movement made precise focusing feel deliberate rather than slow.

The aperture ring was flawless. Each setting clicked smoothly and positively into place, with enough resistance to prevent accidental changes without making the ring difficult to operate.

The recessed, or dipped, design of the aperture ring also contributes to the vintage appearance. It feels very different from the larger and more exposed aperture controls found on many modern lenses, yet it remained easy to adjust with the camera held to my eye.

There was never any uncertainty about whether the aperture had moved. The clicks were clear enough to feel through my fingertips, allowing me to make adjustments without lowering the camera or checking the markings.

My review sample did not come with the removable lens hood, so I was unable to assess how the complete setup handled with it attached. The hood follows a traditional round design and will add a little extra bulk to the lens, although its effect on the overall balance should be minimal given the weight of the brass barrel.

Despite using the lens without its hood, I experienced no meaningful ghosting or flare issues during my time with it. However, I should add that I rarely photograph directly into the sun, so photographers who regularly place strong light sources within the frame may have a different experience.

For my style of shooting, the lens performed extremely well without the hood. Those who frequently work in more challenging lighting conditions may still find it worthwhile, both for reducing stray light and protecting the front element.

Leica 50mm Summilux-M f/1.4 Performance

The performance of the Summilux-M 50 f/1.4 is defined by its ability to produce two very different types of image.

At f/1.4, the lens delivers the dreamy, artistic rendering that will likely attract most photographers to it in the first place. There is a gentle glow around fine details, contrast is softer and backgrounds dissolve with a beautiful fluidity that is rarely seen in highly corrected modern optics.

This does not mean that images are simply blurred or lacking in detail. The subject can still appear clearly defined, particularly when focus is placed accurately, but the transition away from the point of focus is softer and more gradual.

Portraits benefit enormously from this quality. Skin, hair and clothing retain enough detail, but the image does not feel overly harsh or digitally clinical. Backgrounds are rendered with a painterly softness that helps separate the subject without making the result look artificial.

The 12-blade aperture contributes to the attractive bokeh, but the overall rendering comes from more than the shape of the diaphragm. The traditional optical formula produces a very different transition between sharp and defocused areas compared with the current aspherical Summilux.

At f/2, the central area becomes more defined, but much of the glow and atmosphere remain. This may be the most balanced aperture for photographers who want stronger subject detail without completely losing the classical rendering.

By f/2.8, the lens continues to become sharper and contrast increases, although images still retain a noticeably gentler character than those produced by a modern aspherical design. This is where the Classic begins to bridge the gap between its two personalities.

At f/4, the rendering becomes noticeably more controlled. Fine detail is stronger, contrast is higher, and the frame begins to appear more uniform. There is still a touch of the lens’s vintage character, but the result feels increasingly modern.

Once the lens reaches f/5.6, it becomes very sharp in the center and impressively detailed across the frame. This is where the transformation becomes particularly apparent. A lens that produces soft, expressive images at f/1.4 suddenly becomes a highly capable general-purpose 50mm optic.

At f/8, the Summilux-M 50 f/1.4 Classic delivers images that are clinically sharp while still maintaining a very pleasing overall look. Fine textures are rendered clearly, contrast is strong, and detail extends well across the frame.

I have always considered f/8 something of a sweet spot for many Leica lenses, and that is certainly the case here. The images have the precision expected from a modern optic, but they do not lose all of the tonal character that makes the Classic so appealing.

At f/11 and f/16, the lens provides greater depth of field and remains useful for scenes where keeping more of the frame in focus is the priority. As with any lens, very small apertures can introduce a degree of diffraction, particularly on high-resolution digital sensors, but the results remain highly usable.

What makes the Summilux-M 50 f/1.4 so interesting is that none of these aperture settings feels redundant. Each part of the aperture range offers a slightly different visual signature.

At f/1.4, it is dreamy, glowing and expressive. Between f/2 and f/2.8, it begins to combine atmosphere with stronger definition. At f/4, it transitions toward a more controlled image, while f/5.6 and f/8 provide the sharpness and consistency expected from a modern premium lens.

This gives photographers a level of creative control that goes beyond depth of field. You need to think not only about how much of the scene you want in focus, but also about the type of rendering you want the lens to produce.

There is a certain responsibility that comes with that choice. A technically perfect image is not always the most visually appropriate result, just as a dreamy vintage glow will not suit every subject.

For a portrait, available-light scene or intimate documentary moment, f/1.4 may provide exactly the right atmosphere. For architecture, landscapes or detailed street scenes, stopping down to f/5.6 or f/8 will deliver a much more precise result.

That versatility makes the 50 Summilux-M f/1.4 more than a novelty lens. It would have been easy for Leica to create an optic that offered a distinctive vintage look wide open but became unremarkable when stopped down. Instead, this lens provides a genuinely useful range of rendering styles.

Critical focus at f/1.4 naturally requires care, particularly on a traditional optical rangefinder. The shallow depth of field means even a small focusing error can place the sharpest area in front of or behind the intended subject.

The Leica M EV1 made this considerably easier. Its electronic viewfinder allowed me to confirm focus with greater confidence and encouraged me to use the lens at f/1.4 and f/2 more frequently than I might have done on an optical rangefinder alone.

That said, the lens also felt excellent on the Leica M240. Its smooth focusing action and slightly longer movement made careful rangefinder focusing very satisfying, while the 0.7m minimum distance remained entirely within the coupled range.

Sample images: Leica 50mm Summilux-M f/1.4 

Leica 50mm Summilux-M f/1.4 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:

Wide open at f/1.4 sharpness is disappointing - you'll need to stop down to f/2.8 before center and mid-frame sharpness become impressive. However, corner sharpness still lags behind by some margin, with the lens only becoming sharp across the whole frame at f/8 and narrower.

Fringing:

Fringing is evident in the corners of frame at all apertures.

Distortion: -1.99

There's moderate barrel distortion, and while not severe, we'd expect better from a 50mm lens.

Leica 50mm Summilux-M f/1.4 Verdict

The Leica Summilux-M 50 f/1.4 stands out as a top performer, particularly for photographers who want a more vintage look and feel in an increasingly clinical world of picture taking.

It offers something genuinely unusual within Leica’s current lens range. This is not an existing modern optic wrapped in a nostalgic design. Its classical optical formula, non-aspherical construction and traditional mechanical controls make it fundamentally different from the current Summilux-M 50mm f/1.4 ASPH.

Between f/1.4 and f/2.8, images have a distinctive glow, with gentle contrast, beautiful transitions and wonderfully artistic bokeh. From f/5.6 onward, the lens adopts a much sharper and more modern personality, with f/8 producing particularly impressive results across the frame.

This dual character gives the lens the best of both worlds. It can create images that look as though they were made with a genuine vintage Summilux, yet it can also deliver the detail and precision required from a contemporary Leica M lens.

The photographer simply needs to be clever enough to recognize which look is appropriate for each scene. Choosing the aperture becomes a creative decision rather than a purely technical one.

Its handling is equally impressive. The solid-brass construction feels outstanding, the scalloped focusing ring operates beautifully and the aperture ring provides smooth, positive clicks throughout its range.

The weight will not suit everyone. At 417g, it is a heavy lens despite its compact dimensions, and adding the traditional removable hood will make the package slightly larger. Its price also makes it a serious investment, particularly when there are more affordable 50mm M-mount lenses available.

However, those alternatives are unlikely to offer this particular combination of classical rendering, modern manufacturing and exceptional mechanical quality.

The Leica Summilux-M 50 f/1.4 is a lens for photographers who value character as much as technical performance. It rewards those willing to explore its aperture range, think carefully about the look they want and accept that perfect optical correction is not always the same thing as a perfect photograph.

For the right photographer, it is not merely a vintage-inspired lens. It is a genuine creative tool that can move effortlessly between romantic softness and modern precision.

Light Lens Lab has officially opened orders for its new 35mm f/2 Apochromatic lens for Leica M-mount, bringing another intriguing premium optic to photographers who want classic manual-focus handling combined with decidedly modern optical ambitions.

The lens has been teased previously, but it is now available to order, including a special Titanium Limited Edition that will only be offered for preorder between now and September 10 2026.

This 35mm f/2 also marks the beginning of what Light Lens Lab calls its new Apochromatic Series – and the optical specification certainly suggests the company is aiming high.

The design incorporates four aspherical elements alongside multiple elements manufactured using ultra-low-dispersion and anomalous partial-dispersion glass, with the intention of controlling chromatic aberrations while delivering high levels of sharpness across the frame.

A newly developed high-transmission multilayer coating has also been employed, to further suppress chromatic aberration and purple fringing.

Light Lens Lab says the lens has been designed to deliver excellent distortion control, edge-to-edge performance and smooth out-of-focus rendering, while maintaining natural transitions between areas that are in and out of focus.

That combination should make the 35mm f/2 an interesting proposition for Leica M photographers who want a lens capable of producing plenty of detail without sacrificing the character and rendering that often make rangefinder lenses so appealing in the first place.

Perhaps one of its most interesting features, however, is just how close it can focus. The new 35mm f/2 has a minimum focusing distance of just 0.3 meters, considerably closer than the traditional rangefinder-coupled focusing distance offered by many Leica M lenses.

Light Lens Lab has incorporated a floating optical system designed to maintain consistent image quality throughout the focusing range, which should make that close-focusing capability genuinely useful rather than simply an additional number on the specification sheet.

Naturally, taking full advantage of 0.3m focusing on a traditional Leica M body will require Live View or an electronic viewfinder once you move beyond the rangefinder-coupled distance.

There is plenty going on mechanically, too, with Light Lens Lab saying that its high-precision optical and mechanical components have been developed in-house. Miniature bearings are used within the focusing mechanism to provide smooth and accurate operation, and buyers can choose between two different barrel designs.

There is a smooth version without knurling for a particularly clean and understated appearance, or a close-focus-knurled version that adds additional grip. Both versions use exactly the same optical design, although the smooth barrel is a limited-time configuration that will only remain available to order until the end of December 2026.

Anyone placing an order should be prepared for a little patience, however. Light Lens Lab says the complexity of manufacturing its apochromatic optics means each lens will initially be produced and assembled individually.

Smooth-barrel versions are expected to begin shipping from September 30 2026, with fulfillment continuing through November, while the knurled model is scheduled to begin shipping in December 2026 and continue into January 2027.

With four aspherical elements, floating optics, enviable close focusing and that compact Leica M format, this looks like one of Light Lens Lab’s most ambitious lenses yet – and certainly one I would be very interested to put on the front of an M camera.

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There are few cameras I would be more nervous about attacking with a spanner than a Leica M, but apparently there is now a tool for that – or, more accurately, an entire kit of them.

Currently eBay is packed with inexpensive aftermarket repair tools designed to help owners dismantle and service classic Leica cameras at home, raising an interesting question:

With the cost and waiting time associated with professional servicing, is it finally worth learning how to perform your own CLA?

CLA, for those unfamiliar with the term, stands for clean, lubricate and adjust, and it is something that mechanical Leica cameras can benefit from as they get older.

The interesting part is just how accessible the specialist tools have become. Current eBay listings include 6- and 9-piece wrench and clamp sets advertised for Leica M2, M3, M4, M5, M6, M7 and MP bodies, with prices starting at just over $20.

I found one 9-piece kit on eBay UK for around £21, while another aluminum-alloy set was listed at £27.57. In the US, similar kits currently range from around $23 to $42 depending on the set and seller.

These aren't simply generic screwdrivers, either. The kits contain specialist-sized tools intended to remove components such as flash-socket rings, film-advance parts, viewfinder and rangefinder fittings, rewind controls and other circular fittings without resorting to the sort of pliers-based brutality that makes Leica collectors shudder.

Some sets are also advertised for screw-mount Leica cameras, while there are individual specialist tools available for more particular jobs. In other words, obtaining the equipment required to start taking apart a classic Leica has never been less difficult or expensive.

And that is where things become tempting. A mechanical Leica was built to be maintained – and these cameras have already demonstrated that, with the correct servicing, they can remain usable for many decades.

If you are mechanically minded, understand how a rangefinder works and are comfortable working with tiny precision components, spending $20-$50 on a set of tools could open the door to maintaining your own camera rather than shipping it away every time something becomes stiff, dirty or slightly out of adjustment.

With the price of virtually everything increasing, there is certainly a financial argument for learning the skill.

There is also the time factor. Sending a Leica away means packaging up a camera that might be worth thousands, waiting for it to be assessed, and then waiting again for the work to be completed.

Leica itself maintains a worldwide repair network staffed by factory-trained technicians, and says its service is intended to maintain the quality, precision, longevity and value of its products.

That expertise is precisely what you are paying for – but having the ability to carry out straightforward maintenance yourself could be enormously appealing to experienced DIY users who don't want their camera out of action whenever it needs attention.

Personally, my DIY abilities are enough to make the decision extremely easy: I would happily pay somebody who knows what they are doing. Give me a $25 Leica repair kit, and there is a very good chance that my innocent attempt at a CLA would rapidly become a much more expensive professional repair.

Removing the correct part is only the beginning. Knowing what to lubricate, how much lubricant to use, what should be left alone, how to correctly tension and adjust mechanisms, and how to calibrate a rangefinder afterwards is where the real skill lies.

Owning a Leica wrench does not suddenly make you a Leica technician in much the same way that owning a scalpel doesn't make you a surgeon.

There is also something else to consider: these cameras have value far beyond simply being photographic tools. A Leica M3, M2 or M6 can be an extremely valuable piece of equipment, and one slip of a tool can damage a screw, mark a top plate or turn a relatively simple service into a search for replacement parts.

When Leica talks about professional servicing preserving the quality and intrinsic value of its products, that point shouldn't be ignored.

However, I don't think these inexpensive tools should be dismissed – quite the opposite.

For photographers who already repair cameras, watches or other precision mechanical equipment, or those prepared to properly learn the process on something considerably less valuable before touching their prized Leica, they potentially open up an entirely new side to camera ownership.

There is something rather satisfying about the idea of not only shooting a 50- or 60-year-old mechanical camera, but also possessing the skills needed to keep it running for another generation.

So should you service your Leica at home? For most owners, I still think the answer is no. A proper professional CLA remains the safest and, in my opinion, best option for a valuable Leica.

But the fact that the specialist tools required to tackle these jobs can now be bought for the price of a couple of rolls of film certainly opens the door a little wider for those far more DIY-savvy than me.

With servicing costs rising and photographers increasingly reluctant to be separated from their cameras for extended periods, I can understand exactly why people are tempted. Just remember: the cheap part is buying the tools. Knowing how to use them is where the real investment begins.

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Just under a month ago, I wrote an article titled: A goat versus Gaza: Leica's award shortlist highlights one of the biggest challenges in photography contests.

The point of my piece is that when it comes to merit, it's difficult to separate an image from a warzone against an image of a goat, especially when the former provokes such strong emotional reactions.

Well, turns out there were even bigger challenges to come for the organizers of Leica's 2026 Oskar Barnack Award (LOBA).

First, some context. Since Russia's full-scale invasion of Ukraine in 2022, athletes, artists and cultural figures from the former have been locked out of a range of international contests and events, regardless of their personal politics or whether they actually live in Russia.

FIFA, the IOC and Wimbledon's organizers have imposed blanket or partial bans on Russian participation, arguing that neutrality is impossible while the war continues and that representation risks being used as propaganda by the state.

Cultural institutions have followed suit; canceling exhibitions, performances and more, with a special focus on people tied to Russian state bodies.

Now Leica has done the same, removing Valery Melnikov– a Russian documentary photographer based in Moscow – from its Oskar Barnack Award shortlist.

His series, Mariupol: Open Wounds, had previously been selected by the jury and published alongside the other 11 finalists in July.

Now it's gone, following what Leica describes as a legal and compliance review, and following weeks of pressure from Ukrainian photographers and critics.

What the series focused on

Situated on the northern coast of the Sea of Azov, Mariupol was once the tenth largest city in Ukraine. In 2022, a three-month-long siege by Russian forces largely destroyed it.

Still under Russian control today, the BBC reports that residents regularly experience clean water shortages, frequent power cuts and severe shortages of basic medicines.

Melnikov's project focuses on residents who stayed in Mariupol after Russia's siege of the city in 2022, and on what he calls the unbearable humanitarian consequences that followed. It's serious, sustained documentary work: he's been shooting in the region since 2022 and, by his own account, it's a personal project rather than a commissioned one.

The trouble is context – or rather the lack of it. Ukrainian photographer Serhii Korovainyi, who has covered the war extensively, complained there was no mention of who killed tens of thousands of civilians in the city or who destroyed it.

The Kyiv Independent went further, describing Melnikov as a Kremlin media-linked photographer and detailing his association with Rossiya Segodnya, the state media group that owns Russia Today, for which he's worked since 2009.

Melnikov doesn't dispute this connection; he says it's always been public knowledge and that it didn't stop the jury from selecting his work in the first place. And it's undeniable that he has a point. Since being shortlisted, the facts haven't changed – only the scrutiny.

As someone who's visited wartime Ukraine as a journalist, and who has Ukrainian family members myself, it's tough to be unbiased. But if I try to leave my personal feelings aside, I can see there is a fundamental issue of principle here. Does the context belong to the image or to the caption?

Melnikov's photographs, on their own, show injury, loss and endurance. But they don't, in themselves, assign blame. And his critics argue that omission isn't neutral in a war where responsibility is disputed and where Russia continues to occupy the city he's photographing.

Institutions that platform such work, the argument goes, inherit some responsibility for the framing around it, whether they intend to or not.

That's not, however, a standard that the photography world applies consistently. Plenty of war photography arrives without an editorial essay attached and juries have traditionally judged the image itself, not the photographer's employer.

What's the criteria?

If access, affiliation and biography become part of the selection criteria after the fact, maybe contests need to be far more explicit about that from the outset, rather than making the call once public pressure builds.

On a practical level, photographers who get sustained access to occupied territory rarely do so without some relationship to the authorities controlling it.

Try shooting in Gaza, for instance, without being at least cordial with Hamas. That doesn't automatically discredit your images, but it does imply a need for clear, consistent policy on affiliation before a contest shortlists anyone.

So far, Leica hasn't said if it will revise its selection criteria for future editions of LOBA – and it's not obvious what a workable policy would even look like.

Excluding anyone with state media ties would rule out a great deal of conflict photography produced under authoritarian regimes, where independent access simply doesn't exist. Meanwhile, does the BBC for instance count as state media?

The rabbit holes are many.

What's certain is that the 11 left on the shortlist, including Saher Alghorra's Gaza series and Anush Babajanyan's work on the Aral Sea, will now be judged and exhibited under a cloud that has nothing to do with their own images.

Moreover, the old assumption that a jury judges the photograph and leaves the photographer's politics at the door clearly no longer holds in all situations.

Anyone entering, commissioning or judging documentary work needs to bear all this in mind, if similar controversies are to be avoided in the future.

The Leica M240 was launched back in 2012 and, looking at it through the lens of 2026, I think it is remarkable just how far ahead of its time this camera really was. It arrived as Leica’s new-generation full-frame digital rangefinder, built around a 24MP CMOS sensor that, at the time, felt seriously impressive.

Today, when 40MP, 60MP and even 100MP cameras are increasingly commonplace, 24MP might not sound particularly exciting, but I would argue that it remains more than enough for the vast majority of photography. For social media, online publishing, editorial work and even decent-sized prints, those 24MP files still have plenty of resolution to work with.

But the specification that fascinates me most today is one that many photographers probably dismissed back in 2012: FullHD (1080p) video. Video on a Leica M seemed almost unnecessary at the time – and there were certainly plenty of Leica purists who wondered why it was there at all.

Fast-forward to 2026, however, and we live in the age of the content creator, where photographers increasingly want one camera that can shoot great stills while also grabbing a few clips of B-roll for Instagram, YouTube, TikTok or other platforms.

Suddenly, Leica putting video into the M240 doesn’t seem quite so pointless. In fact, I think Leica was way ahead of the curve – and I should know, because I own an M240 myself, and it has become the camera I use every single day.

There is another Leica M240 feature that I think deserves far more attention: the ability to change the rangefinder framelines from the traditional white to a much more prominent red. It might sound like a tiny thing on a specification sheet but, having actually used it, I think it is brilliant.

Those vibrant red framelines stand out against practically anything I point the camera toward, making it incredibly easy to see my framing quickly and decisively.

It has genuinely changed the way I compose with an M camera, particularly when working quickly, and it is one of those seemingly small features that you only fully appreciate once you have lived with it. I wish Leica had kept the option on its later M cameras.

Then there is the baseplate. Leica has always had its own ideas about how photographers should access storage and batteries, but the M240 had a wonderfully simple trick hidden underneath: the rubber SD card cover could be removed from the baseplate, enabling you to swap cards without taking off the entire plate.

Again it sounds insignificant until you are actually shooting, but it makes changing cards considerably quicker. On current Leica M cameras you no longer remove a traditional baseplate, but accessing the SD card still means removing the battery first. In some respects, the older M240 actually feels more convenient.

Yes, modern cameras increasingly offer USB-C transfer, and you can connect a cable and offload images without physically removing the SD card at all. That is undoubtedly useful in the right circumstances but, when I am actively shooting, I would much rather pull out a full card, slot in a fresh one and carry on.

Connecting cables, transferring files and managing storage while out working feels far more cumbersome than a straightforward card swap. Sometimes progress is not necessarily about adding more technology; occasionally, the simplest solution was already sitting there more than a decade ago.

That is why I genuinely believe the Leica M240 remains a fantastic camera in 2026. It might be 14 years old, and there are obviously newer Leica M bodies with higher-resolution sensors, better screens and more modern connectivity, but the fundamental photographic experience remains remarkably relevant.

You still get that unmistakable Leica M shooting experience, excellent 24MP files, video when you need it and even a few clever touches that later cameras abandoned. Better still, used examples can now be found for a fraction of what a new Leica M costs.

For anyone who has always wanted to experience a digital Leica rangefinder without paying modern Leica money, the M240 might not simply be an old Leica worth considering — it could actually be one of the smartest Leica buys you can make today.

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Leica is a camera company that has always dared to be different and do things that other camera makers wouldn't dare to do. This approach has proved to be a great success in recent years – and has brought the German company record-breaking profits.

While continuing with both its iconic digital and film rangefinder cameras, Leica has diversified into other areas. It continued to make compact cameras when others gave up on them – partly through its own Q range, but also in collaboration with Fujifilm and Panasonic.

Working closely with other companies has become part of the Leica success story, with Xiaomi on camera phones and founding the L-Mount Alliance for mirrorless lens production.

On a recent trip to the company's Wetzlar HQ for the launch of the Leica SL3-P, I had the opportunity to talk to Andrea Pacella, Leica's VP of global marketing and communications, and quiz him to find out more about Leica's innovative approach…

Not to speak of autofocus; autofocus was invented by Leica. You can see it in the museum – the first autofocus cameras were developed by Leica. The project was called Correfot, and it was a real idea for autofocus. But I don't know if they didn't believe in it, weren't able to produce it industrially, or didn't have enough money to develop the project.

What happened is that the project was shifted to Minolta, who at the time was Leica's partner for electronics. Minolta was the first to launch an autofocus SLR camera with the Maxxum 7000. Leica was not able to hop on the autofocus SLR train, so we progressively lost ground.

Then we entered the 2000s, when Leica was also late on digital. We caught up with the M8 and then the M9, and then we were back on track. We developed the S camera system, which was a DSLR, but it was big, had limited lenses, was medium format, and very expensive, so it was a very niche product.

At a certain point, the idea was: "What do we do? Do we go on with DSLRs?" No, because developing another one was no longer where the market was heading. "Can we only live with the M system?" We didn't know if that was feasible long-term.

Then came the great idea to be among the first to move to full-frame digital mirrorless cameras. If you think back to 2015 when Leica came out with the first SL, the only full-frame mirrorless system on the market was Sony's. Nikon and Canon were still making DSLRs; they were very late.

So we were among the first, and we made a good decision to say, "Okay, we need to serve professional photographers. We need to give our customers an alternative to the M system."

We dared to try it and developed the first SL. That then became the SL2, then the SL3, up to the latest iteration, the SL3-S. So it was the right move to make.

The problem was that when we launched the first SL, there was no established mirrorless market. Sony was only selling the A7 series at the time, and it was half the price of our Leica SL. What changed later was that our competitors saw that Leica was having success in the higher price segment.

In the last five to six years, our competitors also started releasing flagship cameras at high prices – at "Leica prices." Sony added the A9 and then the A1. Canon brought in high-end mirrorless models like the R3 and R1 series.

They all brought in top-tier cameras, and paradoxically, if you look at the price lists – knowing street price is another story – the Leica SL is not the most expensive camera on the market any more. Canon, Nikon, and Sony all have cameras that cost as much or more than a Leica.

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Leica has rolled out a slew of firmware updates for a host of its cameras.

Firmware version 4.1.1 for the Leica Q3, Q3 43 and Q3 Monochrom forms the meat of the news, while smaller and seemingly less important updates have been rolled out for the Leica SL2 and SL2-S along with the D-Lux 8.

The company hasn't gone too in-depth with the details but, from what I can gather, the Q3 cameras get important fixes for bugs affecting auto-shutdown and remote app control, while the SL2 models and D-Lux 8 see their operational stability bolstered.

Leica firmware downloads

Here are the firmware downloads, all of which I’ll explain below:

Download firmware 4.1.1 (Leica Q3 / Q3 43 / Q3 Monochrom)

Download Firmware 1.9.0 (Leica D-Lux 8)

Download firmware 6.3.0 (Leica SL2 and Leica SL2-S)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Leica to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Firmware 4.1.1 (Leica Q3 / Q3 43 / Q3 Monochrom)

The Leica Q3 series brings high-end, full-frame compact digital cameras known for their solid build quality, 60MP sensor, and fixed prime lenses. Firmware 4.1.1 brings a trio of main updates for these cameras:

• A fix for a bug preventing the camera from turning off automatically during wireless charging in “certain situations”. Leica hasn’t elaborated on what these are, but has confirmed the Q3 models now turn off automatically as soon as wireless charging is detected.
• A fix for a bug causing the camera to unexpectedly switch to the default user profile in “certain situations”. Again, we don't know what the exact situations were, but if you were facing it, Leica says the issue is now resolved.
• A fix for a bug causing Bluetooth connection failure between the Leica Fotos mobile app and a Q3 camera after a remote wake-up with certain Leica Looks (in-camera profiles) or AF mode settings applied. Leica hasn’t clarified which Looks or AF settings were triggering the error.

Firmware 1.9.0 (Leica D-Lux 8)

The Leica D-Lux 8 is a premium pocket-sized compact camera featuring a 17MP Micro Four Thirds sensor and a fast 24–75mm equivalent f/1.7–2.8 zoom lens.

Leica says that the latest firmware fixes existing “bugs in the firmware” without going into any details whatsoever. This is likely a routine firmware update to maintain stability.

Firmware 6.3.0 (Leica SL2 and Leica SL2-S)

The Leica SL2 and Leica SL2-S are full-frame mirrorless rigs sharing the same weather-sealed metal body and in-body image stabilization, but featuring different sensor resolution, speed, and video capabilities.

Leica hasn’t published release notes for firmware version 6.3.0, so we don’t actually know what the update entails. I’ll keep my eyes peeled for any new information and update this article accordingly.

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Our in-house Leica expert, Seb Oakley, has out together his pick of the best Leica cameras. He knows more than a few things about these rigs, so you're in trusted hands!

Steve McCurry is probably one of the best-known living photographers – famous for his National Geographic shoots and that mesmerizing shot of the Afghan Girl, which he shot in 1984 on Kodachrome using a Nikon FM2 with a Nikkor 105mm lens.

Aged 76, McCurry is still very actively shooting new images today. And when I bumped into him at the recent Leica SL3-P launch in Germany, I was amazed to find out that the legendary Magnum photographer almost always uses just one lens today: a Leica Vario-Elmarit-SL 24-90mm f/2.8-4 Asph zoom.

"I do about 95% of all my shooting with that one lens, whether it's corporate, advertising or personal work", he explains.

In fact, he hasn't just gone down to using this one fast standard zoom; he has also stripped down his whole camera kit.

"In the really old days, I used to have a camera bag with all my stuff," he recalls. "Then I went from that to a photo vest with two cameras, both with fixed lenses, lots of film and maybe a third lens.

"My system now is a 24-90mm lens, one body, a few cards and a couple of batteries. I have no bag, nothing – just cards and batteries in a pocket."

McCurry switched from Nikon with the launch of the Leica SL2 back in 2019 – but it wasn't a move that he made on a whim, or simply because Leica was keen to have him on board.

"I did a very careful analysis," he explained. "I took my Nikon, I took the Leica, and I shot test pictures in the studio and went on the street. I took some of my assistants out. We did some portraits. We did kind of a chart, and we did this over some days.

"It became evident that the Leica lenses were crisper, sharper, had better resolution. It just became obvious that that was a direction that I should go in, after all that careful analysis.

"What really matters is the print. I print every day in my Pennsylvania studio. Every day we're printing for books, for exhibitions, so printing is really an important thing. I need a lens that's really going to make pictures that result in great prints, and that's what I'm achieving with this SL series.

"I look at a lot of my pictures from before Leica and after Leica, and I'm noticing that with the Leica SL series, I could make much bigger prints for exhibitions than I ever could with film or with the Nikon".

Despite his former love for Kodachrome, McCurry doesn't chase after the old color slide film look with his digital cameras.

"When I work with my retoucher, I'm just trying to get the picture to look like what I saw when I was shooting. I'm never trying to achieve a Kodachrome look or a film look," he explains.

"I'm just trying to get it right and capture something that feels genuine. It's not really about the color; it's more about the emotion, the storytelling aspect of the picture. So for me, yeah, I love good, rich color – but it has to support the story".

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DK-Optic has released a new lens for Leica M-mount cameras. The Chiaro 1.5-inch (38mm) f/1.9 lens has been designed as a tribute to the classic Dallmeyer Super Six lens design from the 1930s, which shared the same f/1.9 aperture and was famed for its distinctive painterly bokeh and ethereal image quality. It also explains why the lens's focal length is given in inches rather than millimetres, as that's the unit of measurement used by the classic lens. To quote DK-Optic:

“The Super Six 1.5-inch f/1.9 stands as one of the most legendary standard-focal-length lenses in the realm of painterly optics. In its era, it represented the absolute pinnacle of balancing extreme resolving power with dream-like bokeh. The unique “3D Pop” it delivers wide open remains just as highly coveted today as it was decades ago. Driven by pure passion, DK-Optic has flawlessly paid homage to this masterpiece, combining its vintage soul with the extreme precision of modern industrial manufacturing.”

DK-Optic's Super Six recreation stays true to the original, copying the same 6-element, 4-group optical stack, "rejecting the sterile, dry perfection of modern lenses" to instead replicate the vintage lens's image quality characteristics. Wide open at f/1.9, the Chiaro 1.5-inch is said to deliver "mesmerizing 3D spatial separation (subject isolation). The in-focus areas maintain astonishing sharpness, while the out-of-focus areas rapidly melt away into a signature, highly painterly bokeh." Sharpness and contrast increase as you stop down.

The lens is hand-made in DK-Optic's bespoke workshop using techniques like 5-axis CNC machining of core brass components, as well as grinding decades-old new old stock optical glass. The lens barrel is constructed from high-strength 7075 aerospace-grade aluminum, while the core focusing helicoid and aperture mechanics are machined from aerospace-grade brass, which DK-Optic says provides an "unmatched, buttery-smooth tactile feel".

Though a Chinese lens, don't assume the Chiaro 1.5-inch f/1.9 is just another ultra-low-cost optic. It's priced at $1,600, which evidently reflects the bespoke craftsmanship that's gone in to designing and making the lens. Although by Leica M-mount lens standards, even at this price the Chiaro 1.5-inch f/1.9 is reactively accessible.

Last time we looked at the compact camera rankings from Japanese retailer Yodobashi, we saw a brand-new release skyrocketing to No.1. Panasonic's newest premium compact, the Lumix L10, reached the top position just 12 days after its launch. Now, the retailer reports that the Canon PowerShot G7 X Mark III is the new No.1 compact, despite the fact that it was released nearly seven years ago.

Famously hard to find in stock, the G7 X Mark III can now command second-hand prices higher than its original retail price of $879.99 / £899.99. For example, it's currently out of stock at US retailer B&H, while used examples are listed on MPB for around $1,499.

While there's no sign of the Lumix L10 in the first half of July 2026 rankings, the best waterproof camera returns: the OM System Tough TG-7. The rankings reflect just how diverse the compact camera market has become, but product shortages remain significant, with the top three compact cameras currently on backorder at Yodobashi.com.

Yodobashi's top selling compacts, 1st Half Jul 2026

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

"Yodobashi Camera Best Sellers Top Ten" announces the best-selling rankings from the shopping site "Yodobashi.com" and all 24 Yodobashi Camera stores nationwide.

Japan's champion: Canon PowerShot G7 X Mark III 

The Canon G7 X series has long rivalled Sony's RX100 line, but its appeal is less about winning the spec sheet and more about portability, image quality and ease of use.

The G7 Mark III combines a 1-inch sensor with a compact body and straightforward controls, making it an appealing alternative to both smartphones and larger mirrorless or DSLR cameras.

That balance has helped the G7 X become something of a cult camera. These cameras prove that you don't always need the latest specs – just tools that get out of the way and let you create.

Why is the Canon G7 X Mark III so expensive second-hand?

The G7 X Mark III's popularity has created an at-first-glance unusual situation for an older camera: used prices can now be higher than its original retail price.

But the G7 X Mark III isn't alone in benefiting from the renewed interest in older compacts.

Social media has helped fuel a point-and-shoot revival, with creators and photographers celebrating cameras that offer a different look and shooting experience from a smartphone.

The G7 X Mark III has become one of the standout examples of that trend.

With the camera now difficult to find in stock, that popularity has collided with limited supply – pushing second-hand prices well above what you'd normally expect from a camera release in 2019.

Back after three month: OM System Tough TG-7

The other notable camera in Yodobashi's latest rankings is the OM System Tough TG-7, which re-enters the Top 10 at No.10 after a three-month absence.

Unlike the G7 X Mark III, the TG-7 is built for adventure. It's waterproof, shockproof and dustproof, with a 4x zoom, RAW shooting, 4K video and useful macro mode.

It will be interesting to see if the G7 X Mark III can defend its No.1 spot, and whether the Panasonic Lumix L10 returns to the chart.

For now, though, the G7 X Mark III shows that newer doesn't always mean more desirable – especially when it comes to the point-and-shoot revival.

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I was recently in Wetzlar, Germany, the home of Leica for the launch of the high-octane Leica SL3-P full-frame mirrorless camera.

During one of the presentations, Leica's VP of global marketing and communications, Andrea Pacella, told the assembled influencers and members of the press what the best-selling Leica was. And I was shocked by what I found out.

It wasn't the Leica M range of rangefinder cameras, which built the company's reputation. It wasn't the popular D-Lux 8, which has enjoyed a great success thanks to the rising popularity of compact cameras. And it was not the Sofort 2, Leica's most affordable camera.

No, the best seller is the Leica Q range of full-frame compacts that cost upwards of $7,350 / £5,650. We love the Q3 range but, with those luxury price tags, I was gobsmacked that it was these models that sold so well.

I got to sit down with Andrea Pacella to quiz him on just why the ten-year-old Leica Q range has been such a sales success.

"The idea that there could be a market for a €5,000 compact camera in a world destined to be dominated by the smartphone – where compact cameras were selling less and less – was bold," Pacella explains.

Then he points out that Leica has a long history of bold launches – right from Ernst Leitz II's decision to risk it all on Oskar Barnack's idea of a handheld camera over 100 years ago.

Acts of courage

"There were many acts of courage after that. Launching the Leicaflex SL2, the M3, and crucially, not giving up the rangefinder when it seemed completely dead in the 1970s.

"The M5 was not successful; the market was moving toward SLRs, and the Japanese manufacturers were invading the market with cameras. There seemed to be no more space for Leica," Pacella continues.

"The same courage applied to not stopping production on film cameras when we were selling only a few hundred per year. We kept the production lines, we kept the machines, and we kept the knowledge. Then, when the rebirth of film happened – and now it is a massive hype – we were there. We were the only ones.

"We have taken a lot of these bold, brave decisions in our history; it is rooted in the Leica mentality".

The secret of the Q's success

"We didn't understand it at the time, but the product managers believed in it and eventually convinced us. What made the first Leica Q so successful was that 28mm is the exact field of view people are used to on their smartphones. The angle of view you got on an iPhone was a 28mm equivalent.

"This meant that a lot of people who weren't used to traditional photography, who weren't passionate photographers and maybe didn't even know who Henri Cartier-Bresson or Elliott Erwitt were, or what aperture and ISO meant, found a comfortable, familiar view when they looked through the camera.

"These are small things, but they are incredibly important. The other crucial factor was keeping the form factor of the M system. From a distance, the Q looks like an M. I often describe the Q as a Leica M that is easier to use, featuring a view that everyone is already comfortable with, and costing less than an M lens alone.

"At the beginning, some people would joke, 'You pay for the lens and get the camera for free'. But if you think about how much a standalone M-mount Summilux 28mm f/1.4 lens costs, the lens alone costs as much as the entire Q camera.

"It was a combination of well-thought-out, courageous elements. When you shoot with a Leica Q and see the pictures, you are blown away.

"People started understanding the beauty of shooting at f/1.4 on a full-frame sensor – having the subject in sharp focus while everything else softens away. It gives a pleasure to the eye that you simply cannot get with a smartphone."

Sales figures

Today, Leica offers a choice of three Q cameras: the standard Q3 with its 28mm lens, the Q3 Monochrom with its black-and-white sensor, and the more recent Leica Q3 43. So which is the most popular of the trio, and by how much?

Of the three, it is the Monochrom that turns out to be the niche product.

"The Monochrom was another very courageous act", explains Pacella. "I remember the comments at the time: 'They are crazy. They are arrogant. How do they think they can sell a camera that only shoots black-and-white for more money than a camera that shoots color?'

"The Monochrom cameras are a sort of act of appreciation for our core customers. We don't make them strictly for volume; we could sell the same total number of cameras just by making them in color.

"They don't fundamentally change the overall volume of the system, but they are a thank-you to the people who love that medium."

And the winner is…

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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 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, such as Anush Babajanyan documening 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.

This article has been amended following the removal of a contestant from the contest.

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

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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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: