Leica M System

Leica SL System

Leica Q System

Leica S System

Leica CL / TL System

Leica X System

Leica Compact Cameras

Leica M System

SL System

Q System

S System

CL/TL System

X System

Compact Cameras

The post Leica Firmware Master List appeared first on Red Dot Forum.

Now before we get too far along, I do want to clarify that these presets are designed to work with Adobe Lightroom Classic CC, which is the latest version. I have not tested them with Lightroom CC, which is more of a light version, or with Lightroom Mobile. Also, older non-CC standalone versions may not work with the newer XML file type.

But aren’t Leica files out of camera amazing? Why would I need to change anything?

Let’s dispense with the myth. There is no such thing as “Out of Camera,” unless you are shooting JPG. If you shoot in any RAW format, be it DNG for Leica files, or otherwise, OOC simply doesn’t exist. The default rendering of an image depends on a multitude of variables, like how a program handles the de-Bayering algorithm, which camera profile is used, and whatever default adjustments Lightroom pre-applies. And honestly, I don’t think it matters anyway.

For my own workflow, I’ve created presets for each Leica camera that I shoot with. The desired result isn’t necessarily accurate but is pleasing to my eye. My goal is to create what I refer to as “the best version of reality.” Look, I don’t want a flat and dull image, nor do I care for an over-processed, artificial-looking mess. And truthfully, this balancing act isn’t always easy. With digital capture and the ever-improving capabilities of the sensors, the possibilities for post processing are almost limitless. Just like in cooking, sometimes “just a pinch” is all you need to elevate the final product.

What’s in the presets?

My goal is to offload the settings that I always change, for every image, for a given camera. At a bare minimum, we’re talking about camera profile, sharpening, lens corrections, basic tone and presence. Past that, if I see some color weirdness, I might input small tweaks in the HSL/Color (Hue/Saturation/Lightness) panel. There’s no magic here, just a set of saved adjustments.

As I start using a new camera model, I will generally adapt a previous preset from a similar camera. When the SL2 came out, I started with my SL (Typ 601) preset as a starting point. For my first Leica CL images, I turned to the TL2 for guidance. And this is because a lot of the base adjustments are similar.

Will these presets do everything?

No. Every image is unique and as such will require individual attention. Also, the preset will not adjust exposure or white balance. So, before anything else, you’ll want to get these basic settings dialed in. After that, usually small adjustments to the highlight and shadow slider will get most images looking good. For challenging, high contrast images, you might have to dive into local adjustments like the Gradient tool or the Local Adjustment Brush, but at least you’ll have a solid foundation of enhancements to build off. Here's an example of my workflow.

Let's start with the default Lightroom treatment of an SL (Typ 601) shot I took in Iceland this past August. Some might call this out of camera, but that's not an accurate description as we already discussed. Clearly, the exposure is correct and the white balance seems decent enough, but the image is flat.

Now, let's see what happens when I simply apply my SL601 preset. Immediately, the image comes to life. All of the correct sharpening and basic toning is set. We could stop here, but really, this is just a starting point.

With the preset laying the foundation, we can now fine-tune the image to its finished treatment. Here, I adjusted the basic tone and presence sliders, along with a small tweak to the white balance. So, with just a few seconds of work, we now have a finished image, ready for print or web output.

Alright, so now that you have an idea of what the presets are and why I use them, let's briefly discuss what they are actually changing in Lightroom.

Camera Profile

I like to relate camera profiles to film. When used in the same camera, no two films types, not even those from a single manufacturer, produce the same rendering. While Kodak Portra is quite different than Kodak Ektar, the disparity between Fuji Velvia and Kodachrome can be much more extreme. So, at the most basic level, think about the various built-in camera profiles in Lightroom as different film types. Adobe Standard will act more like Ektachrome while Adobe Landscape might be akin to Velvia. But this only tells the beginning of the story, as the camera profile is just one variable in the overall Lightroom mix.

I tend to favor Adobe Standard as a starting point for most of my Leica presets. Fairly neutral and vanilla without being too flat, it provides a workable foundation to build the rest of the preset onto. One of the frustrations in most of my camera reviews is that there are no official profiles at the time I’m processing my test images. This leaves Embedded as the only option, which frankly isn’t great. The colors are usually off in weird ways. The noise isn’t optimized, and file malleability is limited. When Adobe releases their camera support with proper profiles, I often see massive jumps in final image quality. So, yeah, best to stay away from Embedded if it’s an option. Try out the other profiles and see how they impact the overall look of the image, then figure out what you prefer.

Sharpening

Time to dispel another common misconception and simplify your workflow. I sharpen per camera, not per image. Heresy? Nope. Here’s my reasoning. From a technical standpoint, you’ve either taken a sharp image or you haven’t. Look, no amount of post processing sharpening is going to fix motion blur or missed focus. My main objective is to sharpen for the behavior of the sensor and assume that all images are technically sharp. We’re simply trying to enhance and bring out the detail that is already in the file. Also, with Leica digital sensors, there are no anti-aliasing filters to blur the image. So, this makes our job a little easier. I don’t want to get into the specifics of my particular tastes in sharpening, but my advice is to not overdo it. Nor should you leave the sharpening settings at default.  

Noise Reduction

My presets apply a generic amount of noise reduction for each camera. Clearly, one setting isn't going to work equally well for ISO 100 and ISO 10,000. For the lower ISO, you'll want less noise reduction to retain as much detail as possible, and additional noise reduction for very high ISO images in order to create smoother final results. I'm afraid that you'll just have to adjust this one by eye for very high ISO shots.

Now, there actually is a way to create ISO-dependent presets, but unfortunately not within Lightroom. Nope. The only way to set these up is by editing the XML code of the preset, and frankly I haven't taken the time to determine all the best settings at every ISO for every camera then code them into the files. If you are so inclined, check out Adobe's technical article on how to do it here.

Adaptive Presets for Variable ISO

Good news! As of 2022, Adobe has added the capability to create Adaptive Presets. First, process one low ISO image with your chosen settings, copy over to a very high ISO image and fine-tune for the additional noise and lower dynamic range. Then, select both images in the Develop tab and select Create Preset. Lightroom will then create a dynamically ramping preset based on ISO of each image. The adaptive behavior isn't limited to noise reduction, either. For example, I created a new M11 preset that applies more noise reduction, along with less presence adjustments and lower shadow recovery. At base ISO, these settings are maximized for the most dynamic images, but can negatively impact high ISO shots. A welcome change for sure, and quite easy to set up.

Lens Corrections

This one is easy nowadays. Just make sure the Auto checkbox is ticked and Lightroom will apply the appropriate lens corrections based either on 6-bit coding data from M cameras, S lens data from S cameras, or embedded profiles for SL, Q and TL lenses. Here, you can see the behavior for an M10 with an APO-Suumicron-M 50mm ASPH mounted, then an SL2 with a 24-90mm SL below. For the SL2, everything is grayed out and the message “Built-in Lens Profile applied” is displayed.

Tone

This is where I do most of my work in Lightroom, even after applying a preset. And if you use my presets, you’ll see I stick to a rough formula, varying by camera. I like punchy highlight and shadow contrast, but without sacrificing highlight and shadow detail or blowing out any image information. My best results come from bringing down the highlights while bumping the whites and pulling up the shadows while dropping the blacks. The end result has punch while also expanding the histogram.

Here's what I mean about the histogram. Using the same shot from the Icelandic Highlands, you can see the first histogram is the default behavior in Lightroom. And it's fine. Properly exposed with a decent amount of midtone information.

And this is the histogram from the finished image after preset and final adjustments. The total volume has increased, especially in the midtone areas and darker shadows, while also controlling some of the very bright highlights.

Presence

Here we’ve got Texture, Clarity and Dehaze, along with Vibrance and Saturation. These tools’ performance and my corresponding approach towards using them have changed significantly over time. At first, I avoided Dehaze like the plague as it could quickly wreak havoc on an otherwise nice image. Now, I find with Adobe’s continued development, the control is now a welcome addition to my own processing when used in moderation. And the same goes for Clarity and Texture, with both useful, but often overdone. And some older CCD-based system, like the S2 and M9 still don't respond favorably with additional clarity.

Retina-style screens

And on that note, a quick word of warning for those using Retina-style screens, which means any and all MacBook Pros and iMacs, along with a bunch of PC hardware too. Due to the nature of pixel doubling on high res displays, images seem to be able to take enormous amounts of these Presence adjustments. But, when output as prints, or viewed on a non-scaled display, the results can often be catastrophic. I’m a huge proponent of editing on non-scaled displays for critical work. And that generally means going big. My main editing screen for many years was an LG 34” ultrawide at 3440×1440 pixels with no scaling. One pixel on screen is one pixel in my original image at 1:1 size. For the last few years I've been using the ProArt 32” 4K display, again with no scaling.

Smaller, 27” displays like the one in the 5K iMac or Apple Studio Display look amazing for text and images but are too pixel-dense to run at 1:1. The text and UI elements would be unreadable. If you have no intention of changing your whole editing setup, or simply don’t have a choice when editing with a laptop on the go, my suggestion is to adhere to self-imposed limits on these controls, based on numbers. A good rule of thumb is to keep any of these sliders under 20, unless you are pushing past for purely artistic reasons. With Dehaze, a max of 10 might even be more prudent.

And this follows suit on the Vibrance and Saturation adjustments. Vibrance will impact less saturated colors like skin tones, while Saturation changes deeper colors. A touch of both will generally help an image, with landscapes benefiting most. For portraits, you may want to dial back a bit.

HSL/Color

The last module to discuss is HSL/Color, which stands for Hue/Saturation/Lightness. Here, you can fine-tune the behavior of eight different colors. The colors are a mix of additive and subtractive color wheels’ primary and secondary colors, and cover most of the main colors in photographic images. While not as comprehensive as something like the Hue vs. Hue controls in DaVinci Resolve or Adobe Premiere’s Lumetri color grading module, this implementation is far simpler to use. If you prefer bluer skies without oversaturating the entire image, bump up the blue saturation slider. Skin tones a little too reddish. A small tweak of the red hue slider will make the reds more orangish. A little goes a long way. Don’t overdo it. In fact, for most of my presets, I don’t even touch these settings.

How do I import and use the presets?

Once you download the presets to your computer using the links below, make sure you note the file location. Open up Lightroom and switch to the Develop module (either just press D on your keyboard or select it from the top navigation bar). On the left panel, look for Presets. Click the + symbol and select Import Presets… Navigate to the location on your computer where you downloaded the presets and select. The presets will now show under the User Presets dropdown. No restart is required.

To use, simply go to a file in your catalog, switch to Develop and click the preset once. Just be aware that all of your previous adjustments will be overwritten with those from the preset.

But, as I stated, the true power will be using the appropriate preset during the import process with a large batch of files. In the Import dialog, on the right panel, expand the Apply During Import tab. Here, you’ll see a dropdown labeled Develop Settings. Click the dropdown, go to the bottom of the list, hover over User Presets and you should see all your imported, or created, presets. Select the correct one for the corresponding camera and import as normal. This will apply the develop preset to each file during import.

Now, if you want to things to the next level, you can even automate which preset Lightroom will apply on import on a per-camera basis. Got to Preferences -> Presets and assign a default processing for each camera type in your catalog, restart Lightroom and the next time you import, you're good to go.

What if I don’t like the presets?

You may not like how I’ve chosen to bias my images. And that’s totally fine. Photography is a very personalized craft. Every photographer has their own vision, both when capturing the photo and when processing it. Feel free to adjust the presets to your own unique tastes and preferences, then you can just click on the + sign under Preset and create a new preset with your settings, or right-click on the preset and select Update with Current Settings. Be aware this will overwrite the original with your new settinsg.

List of Presets

Current Cameras:

Leica M11 / M11-P (Adaptive)

Leica M11 Monochrom (Adaptive)

Leica SL3 (Adaptive)

Leica SL2

Leica Q3 (Adaptive)

Leica S3

Previous Cameras:

Leica S (Typ 007)

Leica SL (Typ 601)

Leica Q2

Leica Q (Typ 116)

Leica M10

Leica M10 Monochom

Leica M (Typ 240)

Leica M Monochrom (Typ 246)

Leica M9

Leica M Monochrom (M9M)

Leica S2 / Leica S (Typ 006)

Leica CL

Leica TL2

Leica X113 / X Vario

Specialty:

Just for good measure since a lot of people request this, I figured I'd post it here. When I published my three-part article: The Great Debate CMOS vs. CCD, I developed a preset to emulate an M9 “CCD look” with the CMOS-equipped M240. No, I never made one for the M10, but you could probably adapt the M240 preset for the M10 with some small changes if you’re so inclined.

Leica M (Typ 240) M9 Emulation

Going Forward

Keep in mind that Adobe continues to improve and upgrade Lightroom with enhanced image processing and new features. And along with these iterative refinements, processing techniques and best practices will also need to evolve. This means that while these presets work very well now, in early 2020, they may not be the end-all-be-all at some time in the future. I very well might employ newly introduced tools or approach the overall process differently to optimize file quality at that time. In fact, I did this exact thing for many of the presets above for out-of-production camera models.

Not having used many presets for several years, they required updates and some tinkering to bring up to current standards. But, as I worked on some older files, I was stunned by the significant improvements to overall quality since my initial processing. Color, detail, noise at higher ISO and shadow recoverability all got a visible boost. Of course, this kind of realization is a dangerous one for someone like me, sitting on a catalog of over 100,000 images taken just over the last ten years.

Here's just one example, a picture I took when initially testing out the M9 in Germany in 2009. The first image was simply exported from Lightroom using all my original settings from 11 years ago, with legacy camera profile and process version. The second image was brought up to current standards by applying my 2020 M9 preset, then fine-tuning the file to taste. Besides the overall balance of colors behaving much more normally, there is also a lot of new detail in the previously blown-out red channel of the roses.

My approach here is to reevaluate pictures on a case-by-case basis as I need them for projects or prints. Otherwise, I’d go insane and spend all my time reprocessing years’ worth of photography. Of course, what you chose to do with these presets with updated processing is entirely up to you. Just be warned that you might start to see potential in previously discarded shots, and that rabbit hole goes deep. The good news? That mystical promise that shooting in RAW will allow you the potential to use better processing algorithms in the future and that your files will get better with age – turns out to be true here in the future. So, pat your 2010 self on the back for doing the right thing and shooting in RAW.

The post Lightroom Presets for Leica Cameras appeared first on Red Dot Forum.

Given the maturity of the Leica S-System, the S3 has the advantage of launching with a full lens ecosystem. There are nine native autofocus lenses, broken down into eight primes and one zoom. Also in the range is a manual focus 120mm tilt-shift for tabletop photography, but I’ll be covering the more general use autofocus lenses in this article. When the first-generation S2 camera debuted in 2008, it did so alongside two initial lenses, the 70mm and 180mm. Shortly after, a 35mm and 120mm joined the ranks, forming the core optics of the system. Then, over the coming years, further designs filled in the gaps.

I’ve been shooting with the S-System since it launched and have had the pleasure of using the entire range of S glass extensively for my photography. Indeed, the S2, S (Typ 006) and S (Typ 007) became the workhorses for the majority of my landscape endeavours over the last decade. And no matter the conditions or how much abuse I’ve put them through, the cameras and lenses have always delivered.

Understanding the 0.8x crop factor and why it matters

Because the S Pro Format’s 30x45mm sensor size is roughly 60% larger than a full frame 24x36mm sensor, we must employ a crop factor when calculating equivalent focal lengths. But, unlike APS-C or Micro Four Thirds, the factor isn’t additive where equivalent focal length increases. Rather, the lens factor here is 0.8x, meaning we’ll end up with smaller numbers, or wider equivalent focal lengths, than what we start with. The math is simple. Just multiply the S focal length times the factor and you’ve got your FF equivalent. For example:

30mm X 0.8 = 24mm

But this is somewhat of an oversimplification, and glosses over one of the biggest advantages of larger format sensors. Essentially, we’re getting less distortion with a wider field of view. Let me explain.

Equivalent Focal Length

Focal length is focal length, regardless of crop factor. So, a 24mm is a 24mm, no matter what. Give that a second to sink in. Alright, but didn’t I just say that we had to use a crop factor? Yes, but that’s simply to arrive at equivalent focal length, which relates to field of view (FOV). The measured focal length never changes. Let's dive a little deeper with a couple examples.

On a Leica S, a 24mm has the equivalent field of view of a 19mm but retains the distortion and optical characteristics of a 24mm. Because it is a 24mm, not a 19mm. So, in the image below, I didn't have to worry as much about keystone distortion when tilting my lens up to compose the waterfall and double rainbow. The resulting image is expansive but not warped.

The same goes for longer lenses. The 45mm has a very natural look since it behaves like a standard 50mm while offering the more capacious view of a 35mm equivalent. Here's an environmental portrait I shot of an innkeeper in Iceland. Even though I'm physically close to the subject with a 35mm equivalent lens and positioning him away from the center of the frame, there is no distortion. And at the same time, I'm able to capture more of the surroundings to set the scene.

For even longer lenses like the 120mm, you get the pleasing compression of the 120mm but a more flexible working range of a 90mm due to a wider FOV. Hopefully this is making sense. But there's more than just equivalent Field of View.

Equivalent Aperture

Like focal length and field of view, aperture requires a bit of a conversion as well. Luckily, the math is equally straightforward. We can apply the same crop factor of 0.8x, but this time to the aperture value to get an idea of how an S lens will behave relative to a full frame optic.

f/2.8 x 0.8x = f/2.2

But, things are just a tad bit more complicated here. Given our equation, an f/2.8 lens on the larger sensor S camera behaves like a faster f/2.2 lens on full frame, right? Well, not really. See, the catch is that this only relates to depth of field (DOF), not to exposure.

Aperture impacts two important aspects of photography. The first, which coincides with our crop factor, is depth of field. A smaller number indicates a wider opening, which results in less DOF and smoother bokeh. Here's an extreme example. Both images were shot with the Summicron-S 100mm. The image on the left was taken stopped down at f/11, while the image on the right was wide-open at f//2.

The second impact of aperture is for determining exposure, and is one of the three pillars of exposure theory. The physical aperture in the lens, also known as the entrance pupil, allows varying amounts of light to pass through the lens to the sensor. Wider apertures mean more light, which in turn has a direct relationship to shutter speed and ISO sensitivity, the other two critical variables for exposure.

Now, in this case, just as focal length remains an unchanging measurement, an aperture of f/2.8 is an aperture of f/2.8 regardless of format, at least with regards to exposure. So, even though our f/2.8 lens might have the equivalent depth of field to an f/2.2, it is still an f/2.8 for light transmission and exposure purposes. Yes, the volume of total light passing through the lens is greater, but that is a different discussion.

Optical Excellence

S lenses don’t need software correction. In the EVF of a live view camera, lens corrections are performed in real time. But, when you gaze through the large, clear optical finder of the S3, what you see is what you get. That perfect, bright edge-to-edge view with no vignetting? That’s not software engineering, that’s simply outstanding optics.

All lenses are exceedingly sharp and offer outstanding color and contrast. Floating lens elements are utilized for optimizing performance across the entire focus range. Exotic glass types and aspheres are employed to provide corrections, minimizing or eliminating all aberrations, distortion and fall-off. And the resulting images are anything but clinical. Rather, they produce some of the most natural and realistic rendering of any Leica glass.

There are no weak performers in the range. Each lens shines in its own right and has its own characteristic feel. For instance, the 70mm is loosely based on the 50mm Summilux-M ASPH and shares many of its pleasing attributes, like forgiving skin tones and buttery smooth bokeh. The 100mm tends to remind me of a 75mm Noctilux-M with its ridiculously shallow plane of focus and lovely fall off. And the ultra-wide 24mm evokes the feel of the best M wides with tack-sharp precision, flat field reproduction and punchy color.

Weather Sealing

Being designed from the ground up, the S-System and all its native AF lenses are completely weather and dust sealed with numerous rubber gaskets inside and out. Front and rear elements are coated in Aqua Dura©, a hydrophobic treatment which repels water and promotes beading, making for easy cleaning. I’ve personally shot for hours in pouring rain, snow and hail, as well as standing under my fair share of waterfalls. Never has the S failed me. The system is rock solid and built for the great outdoors.

S-System Lens Options

Let’s take a look at the entire range one-by-one. I've thrown in a small selection of sample images for each lens. You might also notice that I managed to represent all four generations of Leica S cameras. And if you're looking for quick reference chart with equivalent focal lengths, apertures and filter sizes, I've got you covered with one at the end of the article.

Super-Elmar-S 24mm f/3.5 ASPH

Equivalent to a 19mm f/2.8 super wide

The 24mm Super-Elmar is an absolute champ for wide angle landscape photography. Paired with the live DOF readout on the top display of the S007 and S3, I can set my aperture to f/11 and dial in a perfect hyperfocal distance in seconds. Everything from 2.5m to infinity is tack sharp for every single shot, freeing me to concentrate on composition, framing and exposure. The 24mm is also my go-to for northern lights photography and architectural interiors.

Don’t let the maximum aperture of f/3.5 put you off. Given the massive 95mm filter size, imagine how much larger and heavier a faster lens with the same performance would have been. A mere half stop off f/2.8 is a small sacrifice for everything else the lens does well.

Elmarit-S 30mm f/2.8 ASPH

Equivalent to a 24mm f/2.2 wide angle

Sharing almost the same design as the slightly longer 35mm, the 24mm equivalent field of view makes the 30mm Elmarit a winner for landscape, reportage and travel shooting. A bit easier to manage for general photography than a true ultra-wide, 24mm is always a useful focal length that I also use frequently in both the M and SL. If the 19mm equivalent field of view of the 24mm Super-Elmar-S is too unwieldy for you, the 30mm Elmarit-S should be just right. This lens is sharp, distortion-free and offers wonderful color.

Summarit-S 35mm f/2.5 ASPH

Equivalent to a 28mm f/2 wide angle

One of the original four system lenses and the first wide angle to be offered for the S, the 35mm Summarit is also one of the fastest lenses in the system. With a maximum aperture of f/2.5 and a forgiving 28mm equivalent field of view, the 35mm Summarit-S is a great choice for low light and street photography. If you enjoy the 28mm lens on the Q or Q2, you’ll feel right at home with the 35mm Summarit. I also feel that while similar to the 30mm, the 35mm does have a bit more subtlety and nuance.

Elmarit-S 45mm f/2.8 ASPH

Equivalent to a 35mm f2.2 wide normal

The 45mm Elmarit is perhaps my favorite and most used lens in the S-System. The equivalent focal length of 35mm makes it an infinitely useful and flexible tool for walkaround photography and landscape alike. And while the maximum aperture of f/2.8 appears underwhelming, the resulting images shot wide open have incredible three dimensionality to them, perfect for environmental portraiture and general travel usage. And of course, the 45mm Elmarit-S is amazingly competent for landscape shooting as well, with edge-to-edge sharpness and decent depth of field when stopped down. Basically, the 45mm is a jack of all trades and master of all.

Summarit-S 70mm f/2.5 ASPH

Equivalent to a 50mm f/2 normal

The very first S lens, the 70mm Summarit plays the role of a fast normal lens well. Equivalent to just longer than 50mm with a maximum aperture of f/2.5, the 70mm is also the lightest and most compact of all the S lenses. Modeled after the famed 50mm Summilux-M ASPH, the 70mm offers a very similar rendering to its smaller M cousin. In-focus areas are crisp and detailed, with backgrounds fading into smooth bokeh goodness, especially at minimum focus distance. If you prefer a 50 to a 35 as your standard focal length, and appreciate the much smaller overall package, the 70mm Summarit makes for an unbeatable do-it-all walkaround lens.

Summicron-S 100mm f/2 ASPH

Equivalent to a 75/80mm f/1.6 short telephoto

A relative latecomer to the S lens party, the 100mm Summicron is often referred to as the Noctilux of S lenses. And for good reason. With an extraordinarily fast f/2 maximum aperture and longer 80mm equivalent focal length, the Summicron is a portrait master. The lens has all the dimensionality and bokeh you could ask for. But don’t feel limited to sticking to portrait sessions. The 100 Cron works equally well for detailed landscape and travel shooting, pairing well with a 35 or 45 for a two-lens kit.

APO-Macro-Summarit-S 120mm f/2.5 ASPH

Equivalent to a 100mm f/2 macro

My (other) favorite lens. Another of the first four main lenses created for the S System, the 120mm APO-Macro is simply stunning. Roughly equivalent to a 100mm, this one always finds its way into my camera bag. Astoundingly sharp, even wide open, this lens pulls triple duty for me. In addition to being an exceptional 1:2 macro lens for detail work, the floating lens element design affords the same resolving power at distance as it does in the close range. So, I can easily use the it as my telephoto on landscape adventures. And when I need it, the 120mm is also a gorgeous portrait lens, rivaling the results of the more purpose-built 100mm Summicon above. With a 20% longer focal length and closer minimum focus distance, the half stop slower f/2.5 maximum aperture still results in extremely shallow depth of field and luscious bokeh.

APO-Tele-Elmar-S 180mm f/3.5

Equivalent to a 150mm f/2.8 telephoto

From the first round of lenses, the 180mm APO-Tele-Elmar still remains one of the best telephotos to come out of Leica’s optical department. As sharp wide open as it is at f/8 and fully apochromatically corrected, the 180mm has no deficiencies. In order to keep the size and weight down, a maximum aperture of f/3.5 was chosen, which is still plenty fast for hand-held shooting. The 180mm APO-Tele-Elmar can work as a longer portrait lens, for product photography or landscape – basically anywhere you’re looking to maximize the compression of a telephoto.

To get some extra flexibility out of the 180mm, you can attach the screw-on ELPRO-S 180mm Close Focus Adapter, which shortens the working range to 1.1 – 2.7m. There’s no light loss like you’d have with an extension tube and optical quality isn’t sacrificed. And while it will physically fit on the same 72mm filter thread, the ELPRO-S is ineffective on the 120mm APO-Macro. We tried.

Vario-Elmar-S 30-90mm f/3.5-5.6 ASPH

Equivalent to a 24-70mm f2.8-4.5 standard zoom

Corresponding to the most commonly used zoom range on full frame, the 30-90mm Vario-Elmar can indeed offer a one-camera-one-lens solution for the S photographer. It’s a big lens, with a 95mm front filter diameter, and definitely a solid piece of glass at 1.2 kg (2.8 lbs). But if that one zoom can replace two or three single prime lenses, there is an obvious net weight and space savings in your bag. While I personally prefer the faster prime lenses for my own shooting, I have used the 30-90mm on various outings and was very pleased with the results. Here, the choice between a zoom and a few primes is a personal one.

CS Versions

Leica engineered the S-System from the outset as a dual shutter camera. Especially for medium format, each kind of shutter mechanism has its mix of advantages and disadvantages. A focal plane shutter resides in the camera body and moves as a vertical curtain in front of the sensor. This kind of shutter can achieve faster shutter speeds but has a slow flash sync. On the Leica S, the maximum shutter speed is 1/4000th yet the flash sync is just 1/125th. This is due to the larger area of the sensor and the corresponding 25% greater linear distance to travel versus a full frame camera.

Here's a shot taken in daylight with strobe, but limited to 1/125th sync speed. Due to the relatively slow shutter speed, I had to stop down to f/8 at base ISO just to get a proper exposure. This resulted in more depth of field than I wanted, with a slightly busy background and a somewhat flat rendering of our subject, even using the awesome 120mm APO-Macro.

A central shutter, commonly referred to as a leaf shutter, operates in the lens, not the camera body. Instead of a curtain that moves vertically over the sensor, a central shutter is circular, like an aperture. It closes from the outside in. And while a central shutter can’t achieve the top speed of a focal plane shutter, it does offer flash sync at all speeds up to its maximum speed. On the Leica CS lenses, that’s 1/1000th of a second.

What’s great about the S is that with a CS lens mounted, the photographer can choose to use FPS for wide open available light shooting in daylight, or CS to sync with strobes. Competing systems usually offer just one shutter type.

Here's the same shot as the previous example, but this time shot wider-open due to the higher sync speed of the central shutter. We've now got a much more dynamic image, with a more pleasing rendering of the subject and a less distracting background. The 120mm APO-Macro just sings here.

Two important things to note. The first is that while a super fast sync speed sounds impressive, most photographers don’t really need this feature. Unless you are shooting in daylight and using battery-powered studio lighting to overpower the sun on location, you don’t need a 1/1000th of a second sync speed. Secondly, only CS lenses have this additional functionality, with six out of nine offering the option. Here’s a rundown of lenses with a CS version:

• 30mm Elmarit-S ASPH CS
• 35mm Summarit-S ASPH CS
• 45mm Elmarit-S ASPH CS
• 70mm Summarit-S ASPH CS
• 120mm APO-Macro-Summarit-S ASPH CS
• 180mm APO-Tele-Elmar-S CS

Notably, the 24mm, 100mm and 30-90mm zoom aren’t on the list, as the lens designs can't accommodate the CS mechanism.

A Word about Filter Sizes

Since Leica designed the S-System from the ground up, they had no pre-existing size constraints. And while the lenses are large, they're not unwieldy. The design team did an outstanding job balancing handling and haptics with optical and mechanical engineering requirements. And along those lines, they wanted to maintain some consistency with regards to filter sizes.

Most of the lenses in the S lineup feature 82mm front filter threads, which were then carried forward to the SL zooms. Just a tad larger than the common 77mm size, E82 still fits within the standard range of available off-the-shelf filters and allows for easy use with square filter holder systems as well. There are a few outliers though. The two longest tele lenses (120 and 180) have a smaller 72mm thread and the 24 and 30-90 max out at 95mm. Thankfully, 95mm is still a ‘normal' filter size, but it's at the upper end of the spectrum for sure.

Due to the much wider field of view, you need to exercise caution when mounting filters and filter holders on the 24mm Super-Elmar. Thicker filter rings can lead to noticeable vignetting, and you'll probably want to avoid circular polarizers as the results can be inconsistent, with some areas polarized and others not. This isn't a result of bad lens design, just a function of the physics behind polarization angles. At the widest setting, the 30-90mm Vario-Elmar can also pick up some vignetting from filter rings. My best advice in both these cases is to use the slim or wide-angle versions of filters, and you should be in good shape.

One final cautionary note is that the 120mm APO-Macro has a somewhat quirky filter design. First, in addition to the correct 72mm filter threading on the front of the lens, there is also an 82mm filter thread on the outer barrel. Because the lens is not internal focusing, the inner barrel moves inside the wider outer part at infinity and past it for closer focus. This causes two issues. If you want to use a 4″ filter holder, you will need to add a spacer ring in order to achieve infinity focus. I typically take a cheap no-name 72mm filter and knock out the glass. The other concern is that if you make the mistake of mounting an 82mm filter on the outer barrel and go to focus, you might end up with a bit a of mess, with the inner part smashing through the filter.

Adapters for non-Leica glass

I’d like to stick to native S lenses for this article but will mention that Leica does make some adapters if you want to fill in your kit with some non-Leica options. When evaluating choices here, the same math applies with regards to equivalent focal length and aperture. If you use a Pentax 6×7 105mm f/2.4 on the S, it remains a 105mm with an equivalent field of view of 80mm (remember our 0.8x lens factor). But, natively on 6×7, a 105mm would be roughly equivalent to a 50mm in full-frame terms. The focal length never changes, just the equivalence when used on different format sizes.

If you’re after autofocus and auto aperture capability, both the S-Adapter C for Contax 645 and S-Adapter H for Hasselblad HC and HCD lenses will work well. AF performance won’t be up to native standards when it comes to speed, but should be accurate, nonetheless. On the Hasselblad adapter, you’ll also gain central shutter functionality using the FPS/CS switch on the back of the S, up to the lens' maximum of 1/800th.

The S-Adapter V for Hasselblad CF and FE, the S-Adapter P67 for Pentax 6×7 and the S-Adapter M645 for Mamiya 645 are all purely manual affairs. They couple the lens and the camera together but focusing and aperture control are up to the user. If you’re planning on going the manual focus route, I’d highly recommend swapping out the standard center cross focusing screen with the microprism one as it will greatly improve your ability to accurately find focus.

No More Broken Focus Motors

Several years back, focus motors in S lenses started to fail. Over the ensuing months, more and more lenses exhibited the issue. Thankfully, Leica identified the problem and issued a recall for all S lenses once they were able to re-engineer a gearing mechanism that didn’t fatigue over time. And while most used lenses and all new lenses in circulation today have the new part, you need to be very careful when shopping for used S lenses. Always verify that the focus motor has been replaced with the updated version.

Final Thoughts

With the launch of the S3, Leica has breathed new life into the S-System. The new camera will find its way into photographers’ hands while used S006 and S007 bodies will start to surface at even more attractive pricing. And all those cameras will need lenses. Fortunately, the S lineup offers some truly stunning optics. Hopefully, this little guide will help you on your hunt for the right lens setup.

Quick Reference Chart

The post The Definitive Guide to Leica S Lenses appeared first on Red Dot Forum.

Over the years, however, I came to realize that I couldn't have been more wrong. Now I always keep a pair of binoculars on hand. They’ve become an essential addition to my camera bag (see “What’s In My Bag” here). On a recent rock climbing trip to Utah, I used my Leica Noctivids to spot climbers high on Zion’s limestone cliffs. During a family trip to India, I used them to hone in on the architectural details of both ancient ruins and modern structures. At home in Miami I use them almost daily. Whether at the beach watching ships steaming into port, or hitting a local park and taking in South Florida’s plentiful wildlife, my binoculars are always within arm’s reach.

On a recent rock climbing trip to Utah, I used my Leica Noctivids to spot climbers high on Zion’s limestone cliffs. (Pictured: Leica 8×42 Noctivid, Green)

Why Leica?

Whether a first-time binocular buyer, or a veteran birder looking to upgrade, researching and buying a new pair can be a confusing, frustrating experience. A big step in this decision-making process is choosing the right brand. For those of you who are familiar with Leica's photographic lenses, you know the name Leica is synonymous with quality. Leica sport optics are no exception. Each binocular is assembled and inspected by hand, subjected to the highest measures of quality control.

Leica sport optics are built to withstand the harshest of conditions. All of Leica's full-sized rubber-armored binoculars, from the entry level Trinovid HD's to the high-performance Noctivids, feature a nigh-indestructible magnesium or magnesium alloy body and are shockproof. They're sealed and filled with nitrogen making them waterproof up to 4/5m and impervious to fogging. Each outer element is finished with a water-repellent AquaDura lens coating, causing water to bead up and fall off.  In short, they're built to be used.

And Leica stands behind this. All Leica binoculars carry a no-fault 3 Year Passport Warranty and a Lifetime Limited Warranty. The Passport Warranty offers no-fault coverage; meaning if you do somehow manage to break your binoculars, Leica will repair them free of charge. The Limited Lifetime Warranty covers manufacturing defects and regular wear, as well as replacement objective (lens) covers.

So now that you've decided on Leica, the question becomes “Which Leica?”. Compact binoculars start at $499 and full-size binoculars run between $899 and $2,849. I often explain to people regarding Leica's photographic lenses: Leica doesn't make a bad lens. They only make good lenses and really good lenses. The same goes for Leica sport optics. Even Leica's most entry-level binocular is considered a high-performance optic.

Breaking Down Binocular Basics

Since we're going to be dealing with some complicated-sounding terms and a little bit of math, let’s talk about the numbers and lingo before diving into specific binocular models. For starters, every pair of binoculars is described by two numbers, for example: 8×32, 7×42, 10×25 (read: ten-by-twenty-five). Understanding these two numbers and how they affect your viewing experience is the first step in deciding which binocular is the best fit for you. Let's break it down.

Magnification

The first number denotes magnification. Leica binoculars range from 7x up to 12x with 8x and 10x being the most common. An 8×32 binocular magnifies the viewing image eight times the size of what your naked eye can see. In terms of a photographic lens, this would be equivalent to a 400mm lens. See, our eyes naturally equate to a 50mm lens in the full frame 35mm format, so when a lens is 1x magnification, it’s equal to 50mm. To calculate, simply multiply the magnification by 50.

MAGNIFICATION x 50 = EQUIV. FOCAL LENGTH

So,  2x = 100mm, 3x = 150mm, and so on. As a photographer, I have a tendency to put things into photography terms. I think of each individual ocular of the binocular as a camera lens, and our retina as the piece of film or digital sensor on which the image is being captured, the magnification of the ocular as the focal length of my lens, and the diameter as the aperture.

Every pair of binoculars is described by two numbers: lens magnification and lens diameter. (Pictured: Leica 8×42 Noctivid, Black)

Lens Diameter

This brings me to the second number we see: the diameter of the objective lens where light initially enters the ocular (the front element). Think of this as aperture on a lens. The larger the lens opening diameter, the more light enters, resulting in a brighter image. While not a direct equivalence, there are many parallel concepts to a camera lens, which we’ll dive into deeper in just a bit. Full-size Leica binoculars range in diameter from 32 to 50mm, and compact binoculars range from 20 to 25mm. Basically, the bigger the number, the larger the lens diameter.

Exit Pupil

Now that we know what each of these numbers mean individually, let’s take a look at what they mean together. This is where a little basic math comes into play. Let’s take a pair of 8×42 binoculars as an example. If we divide the diameter of 42mm by the magnification of 8x, we’re left with a smaller number – in this case 5.25. This number is our exit pupil.

LENS DIAMETER  ÷  MAGNIFICATION = EXIT PUPIL

What is the exit pupil, you ask? Let me show you.

The exit pupil, measured in millimeters, is that tiny circle of light you can see coming through the lens.

The exit pupil is that tiny circle of light you can see coming through the lens. In the above photo, I lined up three binoculars, all with the same magnification (8x), but with different lens diameters. You’ll notice, not surprisingly, that the binoculars with the smaller diameter have a smaller exit pupil.

In terms of viewing experience, the smaller the exit pupil, the more your eye has to search (and strain) to see the entire image. Imagine being in a room with floor-to-ceiling windows. You can take in the full view while sitting on the couch. Now imagine being in the same room, but instead of expansive full-length windows, you have a single nautical bull’s-eye window. To take in the same view, you’d have get up close to the window and crane your neck up and down, left and right. Your eye, on a smaller scale, has to do the same when looking through a binocular with a small exit pupil.

The magnification of the lens affects the exit pupil just as much as the diameter – more magnification isn’t necessarily better.

Now let’s take a look at another series of binoculars, all with the same ocular diameter of 42mm, but with different magnifications. On the bottom we have a birding classic, the 7×42 Ultravid HD-Plus, in the middle the 8×42 Ultravid HD-Plus, and on the top the 10×42 Noctivid. You can see that the magnification of the lens affects the exit pupil just as much as the diameter, and that more magnification isn’t necessarily always better. By giving up some magnification, we increase the size of the exit pupil as well as the field of view. For those using binoculars for extended periods of time, the roomier exit pupil of a 7x or 8x binocular reduces strain on the eye, allowing you to stay out in field longer.

It seems like a no-brainer. Just get the binocular with the largest exit pupil, right? If only it were that simple. A larger exit pupil generally results in a larger binocular. This is where I equate binocular objectives to photographic lenses. If you’re familiar with Leica M lenses, you’ve probably heard of the legendary 50mm Noctilux-M f/0.95. Of the five 50mm M lenses Leica makes, the Noctilux has the widest aperture and lets in the most light, allowing you to photograph with almost zero available light. However, this see-in-the-dark lens comes at a price, and not just a monetary one. Tipping the scales at 1.54 lbs, it's twice as heavy as any other 50mm M lens. While the Noctilux looks great on paper, once mounted on a camera body, some may find it too weighty for everyday use.

Just like a camera lens, the decision when buying a binocular comes down to weight/size versus viewing experience. (From left to right: Leica 8×20 Ultravid, Leica 8×32 Ultravid HD-Plus, Leica 8×42 Ultravid HD-Plus)

Just like a camera lens, the decision when buying a binocular comes down to weight/size versus viewing experience. For those who use binoculars casually and travel often, sacrificing some field of view for convenience and size makes sense. However, for those who will be doing more intense viewing, a full-size binocular with a wider field of view is a better solution.

Now that we have a decent grasp on lens magnification and diameter, let's take a look at some of the other common terms we see thrown around such as field of view, eye relief and AquaDura.

Binocular Terminology

Field of View (FOV)  –  Largely a function of magnification, field of view refers to how much of a scene you can see through the binoculars, and is measured in ft/m at a 1,000 yards. For instance, when looking through the Noctivid 8×42 at a scene 1,000 yds away, the binocular’s viewing image spans 404 ft of that scene. A binocular with a stronger magnification (10x) will have a smaller field of view than a binocular with less magnification (7x). While magnification directly affects the field of view, it is not the sole contributing factor. The optical design of the binocular also comes into play. We can see this with Leica’s line-up of full-size 8×42 binoculars. Even though the Noctivid, Ultravid HD-Plus and Trinovid HD all have the same magnification and lens diameter, each has a slightly different field of view. Generally, a larger FOV at the same magnification is preferable.

Eye Relief  –  Measured in millimeters, eye relief denotes what the distance between your eye and the last optical element (where you place your eyes to look through the binoculars) should be in order to take advantage of the binocular’s entire viewing image. For eyeglass wearers,adequate eye relief is particularly important. Even though all Leica binoculars come with twist-down collapsible eye cups to adjust the distant between your eye and the lens, depending on the eyeglasses and the binoculars, it may not be possible to achieve the optimal eye relief distance, significantly reducing the field of view and overall experience. If you’re an eyeglass wearer, look for a binocular with greater eye relief (at least 15mm). The Leica Noctivids boast an incredibly comfortable eye relief of 19mm.

AquaDura®  –  A water resistant lens coating applied to nearly all current Leica binoculars, AquaDura® repels water and dirt and resists scratching. Raining? No problem, a quick flick of the binocular and the water beads practically jump off the lens.

So now that we’re experts, let’s take a look at Leica’s current line up of sport optics.

Noctivid

Released in August 2016, the Noctivids are Leica’s highest performing binocular and are a testament to Leica’s 110 years of experience in optical design.

Released in August 2016, the Noctivids are Leica’s highest performing binocular and are a testament to Leica’s 110 years of experience in optical design. The Noctivid is the first of a new line of binoculars, boasting not only improved optics using 100% Schott glass, but also a completely new open-bridge construction for flawless ergonomics.

Even the naming is new. Take the famed Leica Noctilux-M again. I’m somewhat of word nerd and am always looking at how words are constructed. Notice the parallel prefixes: nocti-lux, nocti-vid. I can’t imagine this was a coincidence on Leica’s part. Noct- in Latin means “night.” Like the Noctilux-M, the Noctivids perform exceptionally well in low-light conditions. I often have people compare the Noctivid to the Ultravid HD-Plus by looking at a photograph at the end of a dimly lit hallway. The immediate response is always “wow.” The difference is staggering. The Noctivids’ light-gathering ability results in a viewing image brighter than what the naked eye can see. Even at dawn and dusk when light is fleeting, the Noctivids produce a sharp, contrasty image with perfect color reproduction.

Noct- in Latin means “night.” Like the Noctilux-M, the Noctivids perform exceptionally well in low-light conditions.

Besides their optical brilliance, the Noctivids’ ergonomics set them apart. An open-bridge focusing shaft and thin optical tubes make the Noctivids easy to hold, even single-handed. Despite the Noctivids coming in slightly heavier (about 100 grams) than their Ultravid HD-Plus counterparts, they’re actually more comfortable to hold. The majority of the glass inside is positioned so that most of the weight rests in the palm of your hand. I find I am able to comfortably hold up a Noctivid to my eyes much longer than other binoculars of similar size and weight. Adding to the comfort factor, the Noctivids have a long eye relief of 19mm, making them ideal for eyeglass wearers.

An open-bridge focusing shaft and thin optical tubes make the Noctivids easy to hold, even single-handed. (Left: Ultravid 8×42 HD-Plus , Right: Noctivid 8×42)

Bottom line – the Noctivids are hands-down, not only the best binocular in Leica’s line-up, but currently the highest performing binocular on the market. If you want the best binocular out there, look no further.

Top Noctivid Picks  –  Both. The 8×42 Noctivid has a generous exit pupil, wide field of view, and a long eye relief making it great for boaters, birders, and just about anybody looking for an all-around amazing binocular. The extra magnification of the 10×42 Noctivid combined with easy hand-holding make it a great pick for hawkwatchers and hunters.

Browse Leica Noctivids

Ultravid HD-Plus

The Ultravid 8×32 HD-Plus is the smallest full-sized binocular that Leica offers, making it great for hiking and travel.

The first Ultravid (BR) was released in 2003 and updated in 2007 with the Ultravid HD. The Ultravid HD-Plus binoculars, introduced at Photokina in 2014, are the third generation of Ultravids and paved the way for the Leica Noctivid. The HD-Plus line introduced Schott HT glass, which substantially increased light transmission and redefined the viewing experience.

While the higher-end Noctivids are only available in 8×42 and 10×42, the Ultravid HD-Plus comes in eight different flavors, ranging from 7-10x and 32-50mm, making it Leica's most comprehensive line of sport optics. The Ultravid HD-Plus' are constructed using the same optical coatings and nitrogen-filled magnesium body as the Noctivids and deliver exceptional results. Because of the wide range of models available, Ultravid HD's fit many different needs. The Ultravid 8×32 HD-Plus is Leica's most compact full-sized binocular, making it ideal for serious birders and nature buffs who want to pack light. For those in need of a wide field of view, the Ultravid 7×42 HD-Plus with an FOV of 420ft/140m is the go-to.

Throughout the last 15 years, the Ultravids in all their iterations have been Leica's benchmark binocular and several special editions were produced including collaborations with Hermes, Zagato & Aneas.

The Leica Ultravid 8×32 ‘Edition Zagato' released in September 2015 and limited to 1,000 pieces worldwide.

The Leica Ultravid HD-Plus ‘Edition Safari' released in February 2017 features a handcrafted strap and case by by French bag-maker Aneas. Only 100 of each model was made.

The Leica Ultravid 8×32 HD-PLUS, Edition Hermes was released in January 2016 celebrated 111 years of Leica Sport Optics and thus was limited to 111 pieces worldwide.

Top Ultravid HD-Plus Picks: The Ultravid 8×32 HD-Plus is the smallest full-sized binocular that Leica offers, making it great for hiking and travel. It’s the “baby bear” of binoculars – not too big, not too small – just right.

Browse Leica Ultravid HD-Plus'

Trinovid HD

The Trinovid 8×32 HD is similar in size and weight to the much-loved Ultravid 8×32 HD-Plus, and they offer a closer minimum focusing distance and a more comfortable eye relief at half the price.

The original Leica Trinovid was announced in 1958 and was named it for its three (tri-) novel (-no-) innovations: a redesigned compact and ergonomic design, an internal focusing system, and of course ground-breaking optical performance. Unfortunately, this Trinovid – the first of this name – didn’t make it far. The cost of production was too high, rendering it unaffordable for even the wealthiest of consumers.

Sixty years of Trinovid designs have led to the current HD model. For this generation of Trinovid, announced in December 2015, Leica was not only able to reduce their production cost, they were able to develop the industry’s highest performing binocular under $1,000. Don’t let the lower price tag fool you though. The Trinovids feel and perform like a Leica should, incorporating Leica’s patented HDC and AquaDura lens coatings found in their higher end models.

Aside from the attractive price tag, the Trinovid HD’s offer several other class-leading advantages including an extremely close minimum focusing distance: 3.3ft for the 32mm models and 6ft for the 42mm’s. A close-focusing binocular allows you to dial in details of plants, butterflies and even the Mona Lisa.

Top Trinovid HD Picks  –  The Trinovid 8×32 HD is reminiscent of the much-loved Ultravid 8×32 HD-Plus. Similar in size and weight, the Ultravid HD-Plus of course has the optical advantage of the Schott HT glass, but the Trinovid HD actually offers a longer eye relief (17mm as opposed to 13.3mm) and a closer minimum focusing distance.

Browse Leica Trinovid HD's

Compact Sport Optics

Leica compact Ultravids and Trinovids offer high end optics in a pocket-sized package.

Leica compact sport optics appeal most to the casual binocular user – the theater goers and the sporting event attendees. Leica compact Ultravids and Trinovids offer high end optics in a pocket-sized package. Compact optics don't offer the larger exit pupils and field of view of full-sized binoculars and will lead to eye fatigue sooner than their full-sized counterparts. However, for those wanting a just-in-case binocular, look no further. Weighing just half a pound and sized similar to a deck of cards, you'll hardly notice these binoculars in your camera bag or travel pack.

Top Compact Picks  –  The Leica compact Ultravids are waterproof up to 16.5ft/5m, whereas the Trinovid compacts are only splashproof. This in itself makes the jump in cost worth it. Of the two compact Ultravids available, the 8×20's has a larger exit pupil and wider field of view for a more comfortable viewing experience.

Browse Leica Compact Sport Optics

Wrapping Up

Now that you have a better technical understanding of binoculars, you can figure out which binocular suits your needs best. Below is a table comparing Leica's current line up of binoculars using the different lingo and specs discussed in this article. Of course, at the end of the day, the best way to figure out which binocular best suits you is try them out for yourself. Leica Store Miami offers a test drive program for both local and out-of-state customers, so you can see what works best for you and your needs.

The post Leica Binoculars: The Ultimate Buying Guide appeared first on Red Dot Forum.

Immediately, I was struck by the small size and light weight of the chargers, especially considering they all have built-in USB cables and a small screen that conveys useful information about the battery and charging status. All five chargers are about the same size and weight, measuring in at 85 x 50 x 30 mm and weighing 50 grams. All charge one battery at a time, with the exception of the D-LUX/C-LUX charger which actually charges two batteries at once. You can take a look at the chart below to see if Nitecore makes a charger for your Leica camera:

Compatibility Chart

The Nitecore chargers for Leica cameras.

USB Connection for maximum flexibility

Aside from their small size, by far the most noteworthy feature of the Nitrecore chargers is that they charge over USB versus using the standard “figure eight” wall outlet cord, or flip-out prongs, that Leica's own chargers use. This means you can charge up your batteries from a portable battery power bank, similar to how you may charge a smartphone on the go. It also works with solar chargers and you can even charge from a computer's USB port. Or a USB port in your car (or on an airplane). This flexibility is incredible for travel and landscape photographers, who may be miles away from a power outlet when they are out shooting. In theory, with a good-sized power bank, two batteries could last for days and days of shooting without ever needing a wall outlet.

Each charger features a built-in USB cord that tucks away neatly when not in use.

Of course, charging over AC wall power is the fastest and that is easy to do here. I would say most people I know have at least one, if not a small collection of USB outlet adapters. They come with just about every smartphone, tablet or other electronic device with a battery, and they'll all work with the Nitecore chargers. Results may vary in terms of charge times (more on that later) though. Nitorecore makes their own USB power adapter if you need one. Do note that the built-in USB cord is quite short, so a USB extension cable is recommended most of the time if you are charging from AC power.

Useful information

Leica's own battery chargers lack any meaningful information about the battery or the charge status, beyond charging, 80% charged, and fully charged. The Nitecore chargers all have a small screen which provides much more detailed information. The screen cycles automatically between two different displays, the first of which you can see below:

Here I am using the Nitcore ULQ charger for Leica's BP-DC12 battery used in the Q, CL and V-LUX. Starting from left to right, the first thing you see is a series of small “blocks” inside brackets. That is the battery charging status bar and is visible on both display screens.  The battery is fully charged when the blocks reach the top bracket. The word “End” will also appear on the right side of the screen when charging is complete.

Next, we see the voltage the battery is putting out, 6.9 volts in this case. Then we see a reading of 984mA which is how much current is flowing into the battery through the charger. With Nitecore's USB outlet adapter I am nearly at the charger's maximum potential mA rating of 1000mA. Using an iPhone power adapter, for example, I maxed out around 700mA. But, with a larger iPad adapter I could get close to 1000mA. However, with an older, small power bank I never saw more than 100mA. The more current flowing, the faster the battery will charge. Above those readings we see the word “Good” which is the battery's health. “Good” represents the best possible rating. Below that would be “Normal” then “Poor.” If you see Poor, best to dispose of the battery or at least relegate it to backup status.

The second display cycled in still shows the charging status bar on the left, and the battery health above. However, now we see the current temperature of the battery (31 degrees Celsius when I took the photo) and next to that, a measurement of how much charge has been sent to the battery – 84mAh in this case. Do note that this number resets to zero when you unplug the charger or remove the battery.

Obviously this is FAR more information than any of the Leica chargers provide. The “battery health” display alone is a killer feature, letting me know when it's time to replace a bad battery. Plus, I'm able to see how much current is flowing, so I know the quality of the power source. All Nitecore chargers are designed to automatically stop the flow of current when the battery is fully charged as well. So, I never have to worry about overcharging.

Final Thoughts

Needless to say, these will be my new “go-to” chargers for all future adventures. Their small size and flexibility will prove quite useful. And while not available at the time of publication, Nitecore is currently working on an M10 charger. Hopefully we'll see before the year is out.

All five chargers are priced at $60 each. You can check out the full range online here:

Nitecore Battery Chargers

October 9, 2018 Update

There is now a charger for the M10! Check it out here: It’s Here! The Leica M10 USB Dual Battery Charger by Nitecore

The post Nitecore USB Chargers for Leica Batteries Offer Maximum Flexibility appeared first on Red Dot Forum.

Rainstorm in Olympic National Park

There is no shortage of articles and blogs on what to wear for hiking, camping, rock climbing, skiing, or even mountaineering. But, dressing for landscape photography is a bit different than gearing up for other outdoor activities. Most outdoor winter pursuits are high output like downhill skiing or ice climbing, so the clothing is geared towards working up a sweat, not standing still.

Windy and cold – Iceland in February in the middle of the night

Landscape photography usually requires standing stationary for long periods of time, often in the dark. Whether preparing for an epic sunrise on a misty windblown beach in the predawn wet chill, dealing with the sudden temperature drop after sunset in the high desert, watching the camera count down a 30 second exposure of a waterfall amidst a soggy downpour in the woods, or braving a 50 MPH wind in the arctic winter hunting for the Northern Lights, we spend a lot of time waiting around. Waiting for the light to be right. Waiting for that one cloud to move. Waiting for the fog to lift. Waiting for multi-minute-long exposures and the just-as-long dark frame noise reduction. And while we’re waiting, it’s nice not to be freezing, wet, or both.

Waterfall mist turned to ice within minutes in sub-freezing temperatures

The good news is that best practices and standard gear from more technical winter endeavors can be adopted and adapted for photographers.

Technical clothing vs. casual wear

The technical clothing I discuss below definitely costs more than your run-of-the-mill casual attire. A lot more in many cases. These garments use cutting-edge technology, highest end materials and superior construction to offer the wearer ultimate performance. Depending on what type of piece we’re looking at, performance can be defined slightly differently, but generally, here are some aspects where tech clothing excels:

• Lighter weight
• More packable/less bulky
• Longer lasting
• Tougher, more durable construction
• More waterproof
• More wind resistant
• Articulated for better movement
• Warmer
• More breathable
• Faster drying
• Higher quality materials
• Better fit
• Designed for layering

So, yes, you will spend more up front for this gear, but everything should last much longer, be more flexible and ultimately, you will be more comfortable. Frankly, I spent a decade dialing in my outdoor photography wardrobe. My suggestions are from experience and what absolutely works.

Icelandic Mountain Rescue – these guys know the benefits of technical clothing

I’m going to cover cool to cold conditions, as most people have a pretty good idea of how to dress when it’s hot – sun hat, shorts, lightweight shirt, breathable trail shoes. Not too complicated.

Let’s get a little more specific. By cool, I’m talking about 45-65°F (7-18°C). Cold, for me is 25-45°F (-4-7°C). Below that is very cold, especially when standing still for hours on end, but we can still adapt with the right tactics.

Layering approach

Dressing in layers allows for the maximum flexibility to handle a wide variety of weather and conditions. I’ve gone on photography trips with some massive weather fluctuations. A few years ago, while leading a one-week workshop photographing fall foliage in New Hampshire and Vermont, we experienced a low of 20°F (-7°C)with frost on the ground one morning and a high of 80°F (27°C) and sunny just two days later. Add in some hail one day, a good amount of rain another, and you get an idea of why photographers need to be able to adapt to changing conditions.

A full layering system

At the most basic level, layering generally consists of three layers: Base layer, mid layer and outer layer. Let’s look at each in more detail and how we can adapt each to give us the most flexible clothing system possible.

Base layer

The Base layer sits right next to your skin, both bottoms and tops. The function of this layer is to wick perspiration away from your body, keeping you dry so you don’t get chilled. Shirts and leggings should be form-fitting to allow for layering on top. Stay away from cotton and silk! Once wet, they will stay wet, stick to your skin, and give you a good dose of chills.

You have two basic material options, each with their own advantages.

Merino wool

Merino wool is unmatched for its excellent wicking performance, odor-resistance, temperature regulation and overall coziness. Smartwool and Icebreaker are the leaders here.

Smartwool 250 Zip-top wool base layer

The best part of wool is that you can bring just a few items for a longer trip and wear repeatedly. Wool’s natural antimicrobial properties assure that base layers worn for days on end keep smelling fresh. When it gets very wet, you might get a waft of wet sheep aroma, but it sure beats locker room stink. And while you don’t have to wash wool garments very often (yes, really), launder them in Nikwax Wool Wash to keep them soft and to reactivate the natural lanolin that gives wool its magical properties.

Synthetics

Synthetic performance base layers work amazingly well, offering faster wicking and drying than natural fibers, but don’t have the odor-resistance of merino. Plan to wear once or twice then doing a quick overnight wash – they’ll dry in no time if hung up. Some solid options are Patagonia Capeline and Under Armor Base. I’ll opt for a synthetic Base layer if I know I’m going to be doing some serious hiking or scrambling to get to a shooting location. While I might work up a sweat on the ascent, my 1/4-zip base layer will be dry and comfortable within minutes of stopping.

Arc'teryx Phase AR zip neck synthetic base layer 

Base layer weight

Base layers come in different weights from micro-weight (120gsm) to mid-weight (260gsm). If you tend to run cold, opt for heavier layers, or go for two base layers at the same time – a light-weight crew underneath with a light, or mid-weight 1/4 zip neck on top for most flexibility.

Personally, my go-to combo is an Icebreaker 150 Ultralite T-shirt with a Smartwool 250 mid-weight zip neck long sleeve. The zip necks are awesome. They’ve got high collars that seal out the cold and allow you to dump heat quickly if you start to get overheated.

My base layers

With three T-shirts and two or three long sleeves, I’m good for 7-10 days. For a really cold outing, I’ll swap out the short sleeve T-shirt for a long sleeve Smartwool 250 crew neck, although plan to be very toasty when you come inside, even after shedding all your other layers.

Make sure to get bottoms as well as tops. My favorites are the Icebreaker BodyFit 200 Leggings. You should be able to get 3-4 days from one pair.

Icebreaker BodyFit 200 leggings

Underwear

Underwear is part of your base layer system and yep, you guessed it. Wool for the win again. Grab some Icebreaker BodyFit 150 boxer briefs and be happy. Just as cotton T-shirts are a no-go, the same goes for your shorts.

Icebreaker BodyFit 150 Ultralite boxer brief

Wool Socks

Nothing beats the comfort of good wools socks. No, they are not itchy. Yes, they provide unmatched moisture wicking abilities and keep your feet dry, warm, and happy. My favorites are Smartwool hiking socks. They have extra padding on the soles for even more comfort while on your feet.

Smartwool hiking socks

How much do you need for a full trip?

Here's my base layers for 10 days. I've got four T-shirts, three long sleeve zip shirts and three pairs of leggings. How much underwear I bring depends on if I will have access to laundry if staying in hotels, or if I am willing to do a quick hand wash or two along the way. Of course, if you're good with wearing one pair for two days, I won't judge. The same thinking goes for socks. You can wash and wear, wear more than once, or just bring a pair for every day you'll be in the field. A lot comes down to your personal comfort level.

10 days worth of merino baselayers. When rolled, they take up much less space.

I use the Eagle Creek Pack-It packing cubes when packing to keep similar items together. The Pack-It full cubes measure 14 x 10 x 3 inches, which I've found to be the perfect size for tops and pants. By rolling up your base layers, 7-10 days worth of clothes takes up very little space.

500mL water bottle for scale

Mid layer/Insulating layer

If the goal of the Base layer is to keep you dry, the mid layer, or insulating layer is designed to keep you warm. Options include fleece, technical fleece, synthetic or down. Let's talk about the pros and cons of each one.

My mid layers – an Arc'teryx Cerium LT down jacket and Arc'teryx Atom LT synthetic insulated pants

Down

Down is the undisputed insulation king. This natural insulator is unmatched for warmth and compressibility but loses performance when wet and is also the most spendy. Contrary to popular belief, down isn’t made of feathers. Rather, it is the fluffy and lofty layer underneath the feathers. The high-loft fibers hold in heat and spring back into shape after being scrunched into impossibly small sizes.

Down is often rated by fill power. A low-quality garment might use 500 fill power, whereas a top-quality piece will use 850-fill power. The higher the number, the more thermally efficient, meaning you can use less to get the same effect, or get more warmth from the same amount. Besides fill power, look also at the fill weight. This is the actual amount of down used, listed in either grams or ounces. Some manufacturers will tout their fill power but omit the fill weight. Or, vice versa. To get a realistic idea of warmth, you need both numbers.

Down garments run the gamut of insulation, from ultralight to heavy. Which you choose depends on the temperature ranges you’re looking to tackle.

Ultralight

The best ultralights are the Mountain Hardwear Ghost Whisperer and the Arc’teryx Cerium SL. Both clock in at 7oz (195g), which is insanely light. But with only about 2oz (50g) of actual insulation, these jackets are designed for serious technical use – minimalist climbing, backpacking, backcountry exploration. In other words, not necessarily for photographers, although they can work as an emergency layer in case you get caught out when the mercury drops unexpectedly. Just don’t count on ultralights as your only mid layer.

Mountain Hardwear Ghost Whisperer

Midweight

For midweight down, the Arc’teryx Cerium LT  is the bee’s knees. Super light at around 9oz (250g) for the non-hooded and 11oz for the hooded version, the Cerium LT provides an unmatched warmth-to-weight ratio with its top-shelf 850-fill goose down.

Arc'teryx Cerium LT

The Cerium LT is somewhat form-fitting, designed to layer on top of slim base layers and under outerwear

Two other great midweight jackets, the Patagonia Down Sweater and the Rab Microlight Alpine offer similar warmth but weigh in at around 15oz (425g) each, about 35% heavier than the Arc’teryx offering. The Rab excels at inclement weather, though, with Nikwax hydrophobically treated down and a water-repellent Pertex outer shell.

Heavyweight

Moving on to heavyweight down jackets, the Arc’teryx Cerium SV and Rab Electron Pro up the warmth factor considerably. But, also the bulk. These jackets are the limit to what I’d still call a mid layer, one that can still fit under a shell without making you look like the kid from A Christmas Story who can’t lower his arms. Don’t get me wrong. At 14oz (390g) and 17oz (480g) respectively, both are still very light.

Arc'teryx Cerium SV

Personally, I have both an Arc’teryx Cerium LT (non-hooded) and a Cerium SV Hoody. Between these two, I can tackle just about any cool to bitter cold climate. The Cerium LT jacket fits into its included stuff sack the size of a 1-liter water bottle.

Arc’teryx Cerium LT in its stuff sack

It’s perfect to throw in my under-seat carry-on luggage or attach with a carabiner to my camera bag. And even though it’s a technical piece, the LT can pull double duty while traveling or for urban wear as a standalone jacket for cool and dry weather.

The SV model is bulkier – think down puffer jacket. The thing is a furnace. Instant warmth even well below freezing. Yet, given down’s incredible compressibility, the SV takes up very little luggage space once stowed in its stuff sack.

Cerium SV is heavy-duty, but still trim enough to fit under outer layers

Cerium SV under a Beta SV shell

What about water?

In addition to a DWR coating on the outside, both Cerium models use Coreloft synthetic insulation in the shoulders, hood, wrists and under the arms, all areas prone to moisture exposure. This hybrid approach addresses one of down’s main shortfalls. Rab tackles this issue differently, opting for an almost waterproof face fabric and chemically treating the down inside to repel water.

Rab Electron Pro down hoody is weather resistant

Fleece

The classic fuzzy fleece, while the least expensive, will be the bulkiest to achieve the same warmth factor as other mid layers. Fleece feels cozy and breathes very well but doesn’t offer much wind resistance. In this category The North Face, Patagonia, Mountain Hardwear and Marmot all offer good options. Nothing really stands out as 300 weight fleece is 300 weight fleece. This is where I started my journey, but I haven’t worn one in years, as down and synthetic outperform fleece on just about every metric.

The North Face fleece jacket

A variation of the classic fleece, technical fleece, is very thin and layers well under other mid layers. Tech fleece is best suited towards high-output activities like skiing, as it isn’t that warm while stationary, but fabrics like Polartech Power Dry wick perspiration and dry almost as efficiently as synthetic base layers.

Black Diamond Coefficient tech fleece

If going the technical fleece route, check out the Black Diamond Coefficient and Arc’teryx Delta LT. Add one to your kit if you want to be able to have an option to layer on top of your base layer and under your mid layer without any extra bulk, but don’t depend solely on a tech fleece.

Synthetic

Synthetic mid layers are extremely lightweight and thin, block the wind and offer decent warmth. They are also recommended for wet environments. Unlike down, synthetics dry quickly and still insulate when wet.

Patagonia Nano Puff jacket

For synthetics, the best choices are Arc’teryx Atom, Patagonia Nano Puff, Patagonia Nano Air and The North Face Thermoball. I have an Atom LT that I love. While not nearly as warm as a comparable down jacket like the Cerium LT, the Atom is more breathable and my choice for aerobic activities where the down would lead to overheating or the weather isn’t cold enough to warrant down. It’s also killer for lounging around when you’re back inside editing pics. And with wind resistance and a DWR finish, the Atom makes for a good standalone jacket for mid 50s to mid 60s °F (~18°C).

Arc'teryx Atom LT

Button-down hiking shirts

So, these are a grey area from a layering perspective. Hiking shirts are great, but don't fit neatly into the classification of base layers or insulating mid layers. But, since they fit over your base layer, we'll just leave them right here.

Hiking shirts are generally made from quick drying, lightweight synthetic materials. Sometimes, you'll find wool shirts, which are thicker, warmer and designed for cold-weather hiking and camping. The lightweight ones are perfect for warmer outings where a long sleeve base layer would be too stuffy, but you still want protection from the sun. Think late spring or early fall.

Mountain Hardwear Canyon AC hiking shirt

I have a few shirts from various brands, but my favorite so far is the Mountain Hardwear Canyon AC shirt. Like regular shirts, a lot comes down to personal taste and style. Check out tons of good options here. Just be sure that any hiking shirt you might get isn't too baggy or loose fitting. This will make layering on top of it challenging and possibly uncomfortable.

Don't forget about your legs

Keeping your core warm is priority number one, but don’t neglect your legs. Usually, a pair of lightweight 200gsm wool leggings under your pants will do the trick, although in cold winter temperatures, I highly recommend donning a mid layer for your legs as well. Lightweight synthetic insulated pants worn over your base layer and under your shell pants will provide adequate warmth without limiting mobility. Top picks are Arc’teryx Atom LT, Patagonia Nano Puff, and Mountain Hardwear Compressor. For my kit, I’ve got a pair of Atom LTs that work like a charm.

Arc'teryx Atom LT insulated pants

Outer layer

The last layer in your system, the outer layer protects your mid layer, base layer and you from the elements. Comprised of your shell jacket and pants, you want to look for durability, weather resistance and breathability.

My outer layer

Technical hard shell

Arguably one of the most important articles of clothing in your kit, a technical shell is your outer armor, valiantly standing between you and the worst mother nature can dish out. Rain. Wind. Snow. You want it to be bombproof.

Look for a technical shell that blocks out winds up to 60 MPH (26 m/s) and is guaranteed waterproof. A variety of coatings and laminates such as Gore-Tex Pro, H2No, eVent, Neoshell, and Dry.Q Elite all work to repel wind and water while offering up some breathability. The best jackets have 3-layer construction.

Arc’teryx is known for making some of the very best hard shells out there. In fact, for a company that does so many things well, tech shells are what they do best. Arc’teryx has three main lines: Alpha, Beta and Zeta.

• Alpha – Climbing and alpinism
• Beta – Versatile all around
• Zeta – Hiking and trekking

Beyond that, they then break down into various weight/durability ratings: FL, SL, LT, AR and SV. This naming convention follows suit across their entire collection.

• SL – Superlight
• FL – Fast and light
• LT – Lightweight
• AR – All around
• SV – Severe weather

With the amount of combinations, picking one can be daunting, but I’ll help you out here. First, regardless of designation, these are all Gore-Tex jackets and will be waterproof. The SL and FL trim level will sacrifice features like hand pockets and face fabric durability for light weight and packability. LT jackets won’t have pit zips. AR and SV options will have plenty of pockets, pit zips and are durable as they get, SV ones even more so. The most rugged of all is the Alpha SV with the Beta SV not far behind. Both are virtual bomb shelters but only weigh about 1lb (450g) apiece.

Arc'teryx Beta AR

I use their most popular shell, the Beta AR, which is basically a versatile, full-featured all-around jacket. I wear it for all my outdoor adventures, from photography to skiing. Constructed from N80p-X Gore-Tex Pro 3L in high wear areas like the shoulders, lower sleeves, and hood with lighter weight N40r-X ripstop Gore-Tex Pro 3L everywhere else, the Beta AR balances durability and breathability. The Beta is hip length and regular fit, with the ability to layer under effectively yet not baggy when just wearing over a T-shirt. Pockets are simple, with two hand pockets that sit high enough to be above the waist belt of a backpack and large enough to fit hat, gloves, filters, etc. The elbows are gusseted so that the sleeves don’t ride up when you raise your arms. It’s basic, functional and has kept me dry in some nasty weather. Totally worth it.

Arc'teryx Alpha SV

Other options I’d consider from the Arc’teryx line (some of which didn’t exist when I got my Beta AR) are the Alpha SV, Beta SV, Theta AR, Zeta AR, and Zeta LT. The Alpha SV is the toughest of them all, with N100p-X Gore-Tex Pro 3L through and through. Be aware, that because of their climbing pedigree, the hand pockets on all the Alpha jackets are Napoleon style, meaning they are accessed from the opposite side (left hand in right-side pocket). So, they don’t work great as traditional hand warming pockets.

Arc'teryx Beta SV

For one step down in durability, the Beta SV will allow for more layering underneath than the Beta AR and has N80p-X GTX Pro everywhere. The trade-off is that neither the Alpha nor Beta SV models will be as breathable in warm weather due to their thicker fabrics.

If you like the Beta AR features and construction but want something in thigh length rather than hip length, the Theta AR could do the trick.

Arc'teryx Theta AR

Last up is a relative newcomer to the lineup, the Zeta series. Featuring the new Gore-Tex with C-knit technology, the fabric in the Zeta line is more supple, less crinkly, and feels way better against bare skin than GTX Pro. Less durable, yes, but also more versatile for warmer and humid environments. While the full-blown Zeta AR is only slightly lighter than a Beta AR at 15oz (425g), the Zeta LT cuts down to only 11oz, albeit without pit zips and with a lighter face fabric weight. The only catch is the entire Zeta line is trim fitting, which is great for spring, summer and fall. Not so great for winter as there won’t be enough room for a decent mid layer underneath.

Arc'teryx Zeta LT

If you want the ultimate combo, go for a Beta SV and a Zeta LT. Burly and bombproof for colder conditions and lightweight and breathable for warmer adventures while still maintaining waterproofness.

To be fair, there are plenty of other solid choices for technical shells besides Arc’teryx, like the Outdoor Research Axiom, 66 Degrees North Snaefell, Marmot Speed Light and Patagonia M10, to name a few. These are all excellent options. For simple rain shells or wind shells, there are far less expensive options, but the technical shells recommended above are indestructible and absolutely watertight while being extraordinarily lightweight and will last for years. Also, cheaper rain jackets aren’t designed for breathability, meaning they might keep you dry from the outside while cooking you in a sauna on the inside. Yuck.

Outdoor Research Axiom

Parka

If you are looking for even more warmth, an insulated parka can be another route to go. Layered over your base layer and mid layer, you should be quite toasty in even the most frigid climates. Some examples of really warm parkas are the Canada Goose Expedition Down Parka, Mountain Hardwear Absolute Zero Down Parka, 66° North Jokla Parka, Fjallraven Kyl Parka, The North Face McMurdo Hooded Down Parka III, The North Face Himalayan Down Parka, and Arc’teryx Fission SV.

Canada Goose Expedition Parka

I’ve got an Arc’teryx Fission SV for super cold outings, when I can’t fit enough insulation under my Beta AR shell to keep me warm. The Fission features waterproof and windproof Gore-Tex face fabric, has a ton of Coreloft synthetic insulation, and still weighs less than 2lbs (850g). With its Expedition fit, I can fit my Cerium SV hooded down jacket underneath and still maintain full mobility.

Arc'teryx Fission SV

Granted, although many of the down parkas I listed above are warmer, they are also pushing 4 or 5 pounds (~2 kg) and take up a lot of space. Odds are, you will need to carry your parka on the plane, as one jacket might occupy half your checked luggage space. If you’re okay with that and just want the warmest possible option available, go for it.

Belay Jacket

Another option is a belay jacket, or summit jacket, standard issue for high-altitude mountaineering. In bitter cold, waterproofness isn’t as critical as wind resistance and insulation, as all the water is usually in solid form (snow). Heavy duty down jackets are worn over everything else, including your shell. The Mountain Hardwear Absolute Zero linked above falls into this category, as does the excellent Rab Neutrino Endurance, which packs a whopping 9oz (255g) of 800-fill down into its 22oz overall package. Both are too bulky to wear under a shell but weigh less than a comparable full-on parka like the Canada Goose.

Rab Neutrino Endurance

Pants

Jeans are comfortable for everyday use, but once wet, they will not dry out and can leave you wet and clammy all day. Jeans are also about as wind resistant as a paper towel. Basically, don’t wear jeans if you plan to venture out for landscape shooting.

For general, non-winter use, I’d suggest comfortable hiking pants. The convertible The North Face Paramount Trail pants are very popular, while the non-convertible prAna Zion pants offer a more tapered fit and soft, stretchy water-repellent fabric. If neither of these choices work, there are tons of great options to fit your style. Worn over long underwear, the combination is easily adaptable to warmer or cooler conditions.

prAna Zion strech pants

There is no magical recipe here. Just look for comfortable, durable, well-fit pants with good water repellency. Cargo pockets are handy. Stretch is nice when moving up a trail or kneeling for a picture.

For hardcore weather protection, the Arc’teryx Beta AR and Norrona Svalbard Gore-Tex pants are unbeatable. This style of pants is like a technical shell jacket for your legs. You only need one good pair and you are covered for a whole trip.

Norrona Svalbard Gore-Tex pants

I’m a big fan of the prAna Zion pants and have them in a few colors. Generally, two pairs will get me through a week-long photo trip. They almost look like causal everyday pants and are as comfortable as they come. prAna also makes Zion shorts, which I wear all the time here in Miami and on hot weather outings.

Recently, I also picked up a pair of the Svalbard pants and wish I had gotten them years ago. They are flat-out awesome, especially for colder adventures. The Atom LT insulated pants fit perfectly underneath for comfort down below freezing without being puffy or bunchy. It’s a great feeling to be able to just kneel in thick mud, a puddle, or the surf to get a different angle without worrying about wet pants and knees. And with the new Gore-Tex C-knit material, the pants feel great when worn next to skin without Base layers.

Base layer, Atom LT mid layer and Norrona Svalbard pants

If you don’t go the Gore-Tex pants route, I’d suggest at least getting some pull-on rain pants. These go over your hiking pants and are waterproof. Some solid choices include the Marmot Precip Pants, Outdoor Research Helium Pants, and Patagonia Torrentshell Pants.

Accessories

Complementing your main layering system will be small items that have a big impact on comfort.

Hat

A simple beanie-style hat that covers your ears works best. Offered in fleece or wool, a beanie will keep your head warm and you will be much more comfortable overall as a lot of heat is lost from your head. The brimless design also won’t get in the way when shooting and will still fit under an insulated hood for even extra warmth. If you happen to be in Iceland, I’m a huge fan of the Varma Rib Beanie. I’ve got this hat for serious cold weather and a lighter Smartwool merino beanie for cool, but not freezing days.

Two hats: Varma ribbed beanie and Smartwool cuffed beanie

Neck Gaiter

Seal in the warmth of your jacket and protect your neck and face with a simple merino wool neck gaiter. It can make a huge difference in comfort. You can just keep it around your neck, pull it up over your nose and mouth, or even up over your ears, effectively covering your entire lower head. There are plenty to choose from. My favorites are the Arc’teryx RHO LTW, Smartwool 250, and Icebreaker Flexichute.

Icebreaker neck gaiter

Gloves

Look for gloves that are thin enough to comfortably operate a camera and tripod, change lenses, etc., while still offering some protection from the wind and cold. Gore-Tex Windstopper fleece does a good job of blocking the wind from sapping warmth from your hands. Try to get gloves that have touch compatibility, which is convenient for phone use and operating the touchscreen of the Leica SL2 or Q2. There are two basic glove approaches for cold weather shooting.

Double layer

Wear a liner glove made of Polartech Powerstretch or Gore-Tex Windstopper for maximum dexterity and a full insulated mitten on a wrist tether when not directly operating camera controls. Some good liner glove choices are Arc’teryx Teneo, Arc’teryx Venta, Marmot Evolution, Marmot Windstopper, and Black Diamond Midweight Screentap Liner.

Marmot Evolution gloves

The best mittens available are the Arc’teryx Mitts which feature plenty of down insulation and a Gore-Tex Windstopper shell. They'll hold up against the wind and some precipitation to keep your hands nice and toasty. Just don't expect to be able to operate your camera. These are for when you're waiting, not actively shooting.

Arc'teryx Down Mitten

Single layer

The other approach is to wear a warmer, thinly insulated glove. You’ll sacrifice a little dexterity but have greater warmth. My top suggestion is the Arc’teryx Alpha FL ice climbing glove. They have 60g of Primaloft insulation and Gore-Tex lining for wind and waterproofing. Designed as a climbing glove, dexterity is better than almost any other insulated glove I’ve tried.  And because they are relatively thin, you can still use the mittens for added insulation when necessary.

Arc'teryx Alpha FL gloves

Personally, I have Black Diamond fleece gloves and Alpha FL climbing gloves. The liner gloves get the most use, but for extreme cold, I’ll use the heavier wind and waterproof Alpha FL gloves. Another suggestion is to take two sets of liner gloves, just in case one gets wetted out.

Hand warmers

Make sure to grab some Hot Hands hand warmers and put them in the hand pockets of your jacket or on the back of your hand inside your gloves at the start of each day. Each single-use packet last 8-10 hours and provides some nice warming action when body heat isn't enough.

Rest assured that these are totally safe and very low tech. Inside the air-permeable wrapper, each hand warmer is filled with iron powder and charcoal. Once exposed to air, the iron begins to form iron oxide, a mild exothermic reaction. In layman's terms, the iron is rusting and generating heat as a byproduct. Some early hand warmers got a little hot for direct skin contact, so they now come with charcoal mixed into the iron powder to buffer the reaction. I usually carry an extra set in my camera bag just in case I lose one or need to help out a fellow photographer with chilled digits.

Footwear

Take care of your feet and they'll take care of you. Keep them dry. Keep them warm. And try to stay blister and hotspot free. You'll often need to do some hiking to get to the best locations and will usually end up standing on your feet for hours at a time. Comfortable, warm footwear is a must.

Hiking boots / Winter Boots

A good pair of hiking boots that gives you sure footing on a variety of ground along with solid ankle support is a must. Also, since some of the best shooting is around beaches, rivers and waterfalls, having waterproof footwear makes a lot of sense.

You'll need waterproof boots with excellent grip to navigate on a rocky beach like this

Some top picks for hiking boots are Vasque, Keen, Salomon, Merrell, and Arc’teryx. Look for good waterproofing, a comfortable fit, a Vibram sole or similar for good wet surface traction, Gore-Tex or other lining for good wicking performance, along with relatively light weight. Also, make sure your boots are fully broken-in before heading out. Blisters are no fun.

Salomon Quest 4D 3 GTX

My current boots are Salomon Quest 4D 2 GTX backpacking boots. Since I got my boots, Salomon has released an updated version, the Quest 4D 3 GTX, but mine are still going strong. They are extremely comfortable, have plentiful arch support and cushioning with Ortholite footbeds, high traction ContraGrip soles and full Gore-Tex waterproofing.

Insulated Boots

If you are prone to cold feet in winter, consider insulated winter boots, rather than standard hiking boots, like the Salomon Toundra Pro CSWP, Keen Durand Polar WP, TNF Chilkat 400, or Sorel Conquest, to name a few popular choices. These winter boots have insulation and rubber that grips even when cold.

KEEN Summit Country insulated boots

I have a pair of KEEN Summit County snow boots for winter wear. I feel like I’m wearing moon boots, but they are very warm with 450g of KEEN.Warm synthetic insulation and waterproof with KEEN.Dry membrane.

Waterproof overshoes

If you want to attack water shots without having to hold back, pick up a pair of NEOS Adventurer All-Season Overshoes. These waterproof boots fit over your hiking or insulated boots and up the level of waterproofness to the max.

NEOS overshoes

At first, walking on two sets of soles feels a bit weird, but being able to tromp out into the surf is unbeatable. And for some shots, like on the famous Ice Beach at Jokulsarlon, there is no other choice.

Being able to wade in is a must at Jokulsarlon

Crampons

For trekking on glaciers, frozen lakes and streams and icy trails, crampons make you feel superhuman. With stainless steel multi-dimensional spikes and a universal elastomer harness, the Kahtoola MICROspikes Traction System crampons fit over your boots to give you 4×4-like traction on ice.

Crampons fit over your boots provide traction on ice

Putting it all together

Let me put together a few different combos based on different situations, so you can get an idea of how all this gear works together.

Scenario 1 – Maine in October

The weather can change quickly along the Maine Coast, especially in October. During sunrise shoots on the water, the temperature might drop into the mid 30s°F (2°C)  (not including wind chill) and later the same day, it could be 65°F (18°C). While fall is usually sunny and clear, you also might encounter the occasional rain shower and some sea spray along the coast.

• Arc’teryx Beta AR shell
• Icebreaker 150 T-shirt
• Smartwool 250 zip-neck long sleeve
• Icebreaker BodyFit 150 boxer briefs
• Icebreaker BodyFit 200 leggings
• Arc’teryx Atom LT insulated jacket
• prAna Zion stretch pants
• Smartwool hiking socks
• Salomon Quest 4D 3 GTX boots
• Fleece liner gloves
• Smartwool wool beanie

Scenario 2 – Iceland in August

The weather can fluctuate greatly from day to day and even hour to hour in Iceland. A sunny, warm day can turn rainy and cold within minutes. And, while an average August high of 55°F (12°C) and low of 45°F (7°C) might not seem too bad, the damp wind, along with strong gusts, can drop the wind chill down to 30°F (-1°C). Iceland is also known for its often-wet weather. Here’s what I bring:

• Arc’teryx Beta AR shell
• Icebreaker 150 T-shirt
• Smartwool 250 zip-neck long sleeve
• Icebreaker BodyFit 150 boxer briefs
• Icebreaker BodyFit 200 leggings
• Arc’teryx Cerium LT down jacket
• Norrona Svalbard Gore-Tex pants
• Smartwool hiking socks
• Salomon Quest 4D 3 GTX boots
• Fleece liner gloves
• Varma wool beanie
• Smartwool neck gaiter

Scenario 3 – Iceland in February

While the winter in Iceland isn’t as cold as you might imagine from just the air temperatures, with an average February high of 37°F (3°C) and low of 28°F (-2°C), the unpredictable winds can drop the wind chill down to -10°F (-23°C). And the damp air makes it feel even colder.

• Arc’teryx Fission SV parka
• Icebreaker 150 T-shirt
• Smartwool 250 zip-neck long sleeve
• Icebreaker BodyFit 150 boxer briefs
• Icebreaker BodyFit 200 leggings
• Arc’teryx Cerium LT down jacket
• Arc’teryx Cerium SV down hoodie
• Norrona Svalbard Gore-Tex pants
• Arc’teryx Atom LT insulated pants
• Smartwool hiking socks
• KEEN Summit County insulated boots
• Arc’teryx Alpha FL insulated Gore-Tex gloves
• Varma heavy wool beanie
• Smartwool neck gaiter

Final Recommendations

As you might have noticed across the examples above, many of the basics items stay the same, with a few pieces being swapped out for others as the temperature varies. This is what makes an effective layering system so versatile. Start out with the essentials then add specialty pieces as you need them for specific destinations.

If conditions are unpredictable,  always bring multiple options to have maximum adaptability. For example, I would bring both a Cerium LT and Cerium SV to cover a wider temperature range in the winter, or an Atom LT and a Cerium LT in the fall. Likewise, I’ll often bring two weights of wool hats and two sets of gloves. The key is to be able to handle whatever comes. Weather forecasts are fine and good while packing, but the situation on the ground can end up quite different. Be prepared and you’ll be able to focus on making great photographs, not just trying to survive if the weather takes a turn for the worse.

The post What to Wear: The Definitive Clothing Guide for Landscape Photography appeared first on Red Dot Forum.

Digital changed everything most things

In the golden age of film, filters were kind of a big deal. Warming filters, color filters, skylight filters, haze filters, star filters, and more found their way into many a photographer’s camera bag. Film was generally daylight balanced and filters were the only way to alter the color captured, especially on slide film, the widely preferred medium for serious landscape photography. With the advent of digital cameras and post capture adjustable white balance, a whole category of photographic accessories become obsolete and unneeded.

So, why are we even talking about filters here? Can’t everything just be done digitally? Well, yes. And, no. Most filters are not useful for digital photography. But, there are certain feats even the best camera just can’t do by itself. Let’s take a look at a few of these cases and what tool we can put to use to solve each one.

Neutral Density filters and shutter speed limits

If you want to get a long exposure to blur moving water, the lens can only stop down so far at base ISO. According to the Sunny 16 Rule (remember that one?), at ISO 100 and f/16, your shutter speed will be 1/125th of a second. Even in partial shade, which is around 2-stops less, you’re still limited to 1/30th of a second, which is not long enough. Besides, you shouldn’t be shooting at f/16 on modern digital Leicas. Do yourself a favor and stick to f/11. This avoids the softening effects of diffraction and still provides ample DOF. But, being limited to f/11 also puts us another stop in the hole when we want slow speeds.

Leica S (Typ 007) with 30mm Elmarit-S
1/60 sec @ f/11, ISO 100, no filter

ND filters are the secret weapon to take control of shutter speed. If we’re lining up a shot of a waterfall in the shade, getting an exposure of 1/60th of a second at f/11, ISO 100, and pop a 6-stop ND on the front, the resulting shutter speed of 1 second lends itself so much better to achieving the desirable cotton-candy effect. Need more time? Once shutter speeds start going in to the whole second range, those times will increase dramatically with each additional f-stop of filtration. With just 2 more stops of ND, the 1 second exposure jumps to 4 seconds.

Leica S (Typ 007) with 30mm Elmarit-S
1 sec @ f/11, ISO 100, 6-stop ND

ND, or Neutral Density, filters simply reduce the amount of light coming in through the lens. Think of them like sunglasses for your camera. Each stop of ND will cut the light by half, meaning that we need to double the shutter duration to make up the difference. A 4-stop lets in only 1/16th of the light in. By 6-stops, only 1/64th of the illumination is getting through the lens. Very powerful 10-stop filters block all but 1/1000th the amount of light.

A 12 second exposure is long enough to blur ocean waves into a smooth surface
Leica S (Typ 006) with 30mm Elmarit-S ASPH
12 sec @ f/11, ISO 100, 10-stop ND

For this reason, you might also see filter strengths indicated by their power, such as 64x for a 6-stop or 1000x for a 10-stop. And yet another designation can be expressed in optical density, where 6-stop and 10-stop filters would be labeled 1.8 and 3.0 respectively. The easy way to decipher the optical density is to just divide by 0.3, as each 0.3 increment is equal to one f-stop of EV reduction. Here’s a table to break it down for you:

ND filters come in both thread-mount and 4” square formats. On M cameras where you’re using a rangefinder and not looking through the lens, thread-mount work fine. For other cameras, I’d suggest sticking with the 4” square variety which can be toggled on and off the lens for composition and framing much more easily.

4-stop and 6-stop Schneider Platinum IRND filters in 4″ square size. When stacked, their ND effect is additive, creating a 10-stop ND

IR bleed

One issue that has plagued ND users is a quirk of physics. ND filters do a great job of blocking the visible light spectrum but are terrible at keeping out IR wavelengths. IR and near-IR bleed creates strong reddish-magenta casts on your images which are difficult to correct. The stronger the ND strength, the more evident this becomes, as the relative proportion of IR exposure increases exponentially.

IR bleed on a 16 second image with non IR-blocking filter

Luckily, in recent years, Schneider released their line of Platinum IRND filters. As the name suggests, the filters effectively cut IR at the same levels as visible light, yielding much more color-neutral results.

The problem with dynamic range

When we watch a gorgeous sunrise, with the sun breaking over the horizon, our eyes and brains work together to see detail in both the intensely bright sun as well as the deep shadow of the backlit foreground. Unfortunately, even the best camera is no match for the human eye with regards to dynamic range. A detailed foreground with a blown-out sky doesn’t make for dramatic landscape images, nor does the reverse.

Exposing for shadows results in blown-out sky

Exposing for the sky results in dark foreground

The solution(s) – HDR or GND

So, we’ve got two approaches. One is digital, the other analog.

Bracketing and HDR

We could employ auto bracketing, whereby the camera takes a series of pictures spaced at user-selectable exposure intervals by varying the shutter speed for each capture. A three-shot bracketed sequence like the one below consisted of -2, 0, and +2 exposure compensation, giving you three DNG files which must then be combined in Lightroom to a single HDR DNG. This technique essentially expands the dynamic range of the camera by the total exposure gamut of the sequence. In the case of our example values of -2 to +2, we adding 4-stops. And, the results with proper processing, can be quite good as you can see here.

A 3-shot HDR blended in Lightroom

On a Leica SL with a native 13-stop DR, this technique expands the range to 17-stops. You can go much further than this, shooting up to a five-shot sequence with 3-stop spacing and getting from -6 to +6, resulting in a total DR of 25-stops. While possible, 3-stops is a very sizeable gap. If you do go this route, 2-stop spacing is more realistic, resulting in a total DR of 21-stops. As far as the downside, you’re also tripling or quintupling the number of pictures you’re capturing, storing, downloading and processing.

Graduated ND filters

The second option is to kick it old school, by using a GND or Graduated Neutral Density filter. GND filters transition from a full ND filter like we discussed in the previous section to a clear optical glass section with no correction. Commonly made in a rectangle measuring 4” across by 4.65” in length, the filter can be slid up and down in a holder on the front of the lens to match up to the scene, effectively applying ND to only bright sections of an image. The holder clips onto a metal adapter ring, which is screwed onto the filter threads of your lens.

Schneider 4-stop Soft Edge GND slides easily into filter holder

Instead of taking three pictures with a 2-stop spacing for a 4-stop gain and combining in Lightroom, we can just use a 4-stop GND and take one picture. A big advantage of this approach is that you can see the final image in the viewfinder and on playback. The filter can be adjusted in real time to suit the scene. With this technique, you don’t need to shoot multiple images for every scene. For longer exposures, this can be time consuming, drain your battery, fill up memory cards quickly and sometimes cause you to miss the shot. If the scene has moving elements, like rushing water, blending can be tricky.

By using a GND, there is only a single capture of the moving water, rather than three images with different shutter speeds.

The carpenter’s adage of measure twice, cut once comes to mind. A GND lets you get the shot right in camera. And once you have the filter positioned, you can shoot at will as the light changes.

They come in two varieties. A soft edge GND features a gradual, soft transition from full ND to clear. A hard edge GND has a much shorter gradient with barely any feathering. Soft edge is most useful for busy or uneven horizons, where the effect blends more naturally into the scene. Hard edge is best for crisp horizons like an ocean or lake. A combination of both is ideal.

Filter strengths of 2, 3 and 4 stops are available. Personally, I find the 2 stop a little weak in most circumstances. My suggestion is to grab a 3 or 4 stop.

Circular Polarizers and the problem with reflections

One of the few filters that can’t be replicated in post processing is a circular polarizer. Many people think of a polarizer as that dark grey filter that rotates, darkening and saturating blue skies while making white puffy clouds pop, and they’d be right. Polarizers do have that effect and have been beloved by landscape photographers for ages.

Polarizers can make colors and skies pop

But, a polarizer is much more than that. In fact, I rarely use them to create dramatic skies. With HSL controls in Lightroom, a similar look can be had with a few seconds work. And, given the physics of polarization, this sky pop only works at 90 degrees off-axis from the sun. In practical terms, polarization won’t work shooting into the sun or with the sun at your back, only to your left and right. A tool that only works 50% of the time isn’t a great one to count on.

Rather, I use polarizers to eliminate reflections on surfaces, something Lightroom can’t do. Number one use case: waterfalls. Waterfalls have a lot of water and generally a lot of wet rocks around them. White, shiny rocks with little detail aren’t as attractive as darker, more detailed ones. Give the polarizer a spin until the glare goes away in the viewfinder. Done.

By eliminating reflections, a polarizer takes the shine off the rocks and brings out the color in the water. A 6-stop ND then allows for a long 3-second exposure.

They also do a nice trick for foliage. Waxy leaves in the sun tend to wash out. To take foliage photos to the next level, use a polarizer for rich, saturated colors.

In this case, the polarizer removed the reflections from the light branches and off the leaves, giving great contrast and color saturation

Be aware that most circular polarizers will knock down your exposure by 1.5 to 2.5 stops depending on the amount of polarization. This can actually come in very handy for those aforementioned waterfalls, either giving you a slow enough shutter speed to blur the water in the shade or stacking nicely with a 6-stop ND for 8-stops and maximum blur under any condition.

Or, if you are concerned with keeping your shutter speeds up when using a polarizer, B+W offers an HTC, or High Transmission Circular, version of their popular filter. New high transmission polarization foil allows more light to pass, resulting in just 1 – 1.5 stops of exposure loss.

B+W KSM Circular Polarizer on left, B+W KSM HTC Circular Polarizer on right. The HTC is about one stop brighter.

Stacking filters for complex scenes

Each one of the previously discussed filter types solves a unique problem. But, what if you have a compound challenge like a scene that needs both a GND to fix foreground/background exposure differences and a solid ND to get a longer shutter speed for water blur? No problem.

No filter – underexposed foreground

The 4” filter holder has two slots for a reason. Slide in the grad filter first so you can see the effect in the viewfinder.

With GND filter, we can equalize the exposure between the foreground and background.

Then, when you’ve got the shot balanced and composed, add in the ND to lengthen the exposure time. Once the ND is added, you might not be able to see much, although I’ve found the Leica SL viewfinder does a fairly incredible job at cranking the gain in the EVF so you can actually see an image. At least in decent light.

Sliding a 4-stop IRND in front of a 4-stop GND for two effects on a single image

With GND and 6-stop IRND to create a sense of motion
Leica S (Typ 007) with 24mm Super-Elmar-S ASPH
1 sec @ f/11, ISO 100

And, if you encounter a super tricky spot where a polarizer is needed, we can make that work, too. The key is to attach the polarizer to your lens first, dial in the effect to taste, then mount the 4” holder’s adapter ring to the filter threads of your CP. Same as above, add in the GND next, and the ND last.

First, I used a polarizer to dial in the reflection of the fall colors in the water, then added in a GND to even out the exposure from the brightly lit trees and the shadowed riverbed

What’s in my bag?

Here's what I carry in the field for landscape photography. You may notice a bit of wear and tear on this gear, the result of continued use over the years.

My full filter kit

While this might look like a lot of fragile glass to cart around, once each piece is stowed in its respective padded case, everything stacks together and fits neatly in the top section of my photo backpack.

All the filters come in padded cases

My primary go-to camera for landscape photography is the Leica S (Typ 007). The S lenses feature 72mm, 82mm, and 95mm front diameters, so I carry two B+W F-Pro KSM Circular Polarizers, one E72 and one E82. Two filters cover all my lenses except the 24mm Super-Elmar-S, the sole lens in my kit with a 95mm filter thread. Because the coverage of the lens is so wide, I’ve found that polarization can get a little weird in many circumstances. If you’ll recall that the effect works in 90-degree angles, you might imagine what happens in a lens that offers a greater-than-90 degree field of view. This isn't always the case, as you can see here.

Leica S (Typ 007) with 24mm Super-Elmar-S, Circular polarizer

With one Schneider 4” filter holder and adapter rings for 72mm, 82mm and 95mm I can add GND and ND to my entire lens arsenal. The rings screw onto the front thread of the lens, then the filter holder clips onto the ring. For vertical shooting, or for angled horizons, the filter holder can be rotated freely around the ring.

Mounting an 82mm adapter ring on the lens

The 4″ filter holder mounts to a groove in the adapter ring with teeth on one side and a retractable brass latch on the other. It's very easy to take on and off during shooting.

For GND, I carry one Schneider GND Soft Edge Vertical 1.2 (4-stop) and one Schneider GND Hard Edge Vertical (4-stop), allowing me to handle most situations. Rounding out the setup are my solid ND filters, a Schneider ND 1.2 (4-stop) and a Schneider Platinum IRND 1.8 (6-stop). Why two? Having both a 4 and 6 stop ND gives me flexibility and a degree of shutter speed control. I can get 4, 6 or even 10 stops by stacking the two filters together.

ND effect is additive

I really like the Schneider 4” filter system. The filters are dense and durable, comprised of two pieces of German Schott Waterwhite optical glass sandwiched together. Unlike less expensive resin filters, glass can be cleaned with a regular lens cloth and does not get statically charged. 

The Schneider filters are as tough as the camera

Wrapping up

Filters are an essential part of my landscape photography kit, offering creative options that just aren't possible without them. When I’m out on assignment or leading a workshop, my filter kit is always at the ready. Often, I have a couple filters and a holder stashed in the front pockets of my technical shell jacket. They can make the difference of nailing an epic shot or coming home with a frustrating near-miss.

The post Essential Filters for Landscape Photography appeared first on Red Dot Forum.

The Leica SL

And while I have spread the love across a variety of systems over the last two years, my most used camera system during this time has been the Leica SL. Paired with the outstanding 24-90 zoom, the SL is simply a go-anywhere, do-anything combo. It’s fast, it’s fun and the images are stunning. The 4.4MP EVF is a pleasure to use. No lag, no delay, no blackout. So, the SL has become an easy go-to for me. For added flexibility, I'll add M lenses for low light or ultra-wide capability, which often means throwing a 35 Lux or 18 Super-Elmar in my bag.

On a week-long vacation to the Southwest in October, the SL was my constant companion. With the 24-90 plus the 18mm M lens, I could do it all. And with weather sealing to boot, the camera joined me on all my adventures. Canyoneering in Zion with 60-foot rappels, driving high-speed ATVs through the desert in Lake Powell, exploring Antelope Canyon, and hiking down into the Grand Canyon from the North Rim were all no problem. The 24-90 zoom made easy work of most situations, as the focal range provided a good variety of perspectives. And, not having to stop to get into my backpack to change lenses allowed me to keep moving.

Me, rocking the SL on a desert ATV tour

Okay. No surprises or new information here. The SL is awesome (You can read my full review here: Leica SL (Typ 601) Review: A Professional Mirrorless Camera). And, while this article is about my thoughts on the future of the S-System, I think that the perspective of the SL is important to the discussion. Using the two systems one right after the other makes clear to me, in spite of how often I use the SL, why the S is still superior for certain applications, and what might make it even better in the future.

Back to the Leica S (Typ 007)

Because scheduling was tight, I didn’t have a chance to return home after our Southwest adventure. I’d have to fly directly to Maine, gear up and lead two back-to-back landscape workshops. So, I swapped out the SL and zoom for the S007 and a backpack full of S lenses. Why? Simply, because it puts the SL to shame for landscape photography. The SL is certainly no slouch when it comes to image quality, matching well to the output of the M10 and the Q, both superb performers in their own rights. But the S just moves that bar a lot higher. And it’s not just the additional resolution.

Leica S007 on left, Leica SL on right

The color out of the S is gorgeous. Only the recently released M10 equals it. Per pixel acuity is staggeringly good. The S lenses are amazing. An insane 15.3 stop dynamic range allows for single shot HDR in Lightroom, easily handling scenes that would require exposure bracketing and multi-frame blending in post on the SL.

Leica S007 with 24mm Super-Elmar-S

Then there are the lenses. Oh, how I love the S lenses. My favorites are the 45 and the 120. And the 30. And the 24. The 180 is pretty killer too. And the 100 is lusciously creamy. The 35 is great for walk-around. As is the compact and lovely 70. Ok, I literally just named all the S prime lenses. Asking me to pick favorites is like choosing between my children. I don’t struggle the same way when paring down M lenses, as I have definite preferences. But, on the S, I will carry almost a full complement in my pack.

Bag ‘o glass

So, how did it perform for fall foliage in the White Mountains and along the Maine Coast? Again, no surprises here. The S007 just dominates landscape photography, while the ergonomics make the camera such a pleasure to use. As amazing as the EVF is on the SL, using the optical viewfinder of the S is like coming home. Big, bright, clear. A perfect window to the world, rendered by whatever delicious S lens graces the front of the camera. And the images. So much detail. Unequaled malleability in post. Colors rendered represent the best part of reality, riding the line between accuracy and artistry.

Leica S007 with 45mm Elmarit-S

Back in August, I also relied on the S007 for all my photographic heavy lifting. I co-led a workshop to Iceland for ten days, knocking out 4,000 shots. And while it seems almost impossible to take a bad picture in Iceland, I felt my images from this recent trip were so far beyond what I came home with from my first time there. My biggest challenge upon returning home was (and still is) whittling down my first-round pick count from over 800 keepers to something a little more manageable.

Leica S007 with 45mm Elmarit-S

With the hyperfocal readout on the top display, DOF is no longer a guess. High contrast scenes are easily handled. And, of course, the S is as rugged as they come. My 3-Series Gitzo got knocked over when we got slammed with an unrelenting 40 MPH wind during an early morning shoot in the Highlands, with the S taking a dive into the rocks and mud. After a quick water bottle bath in the field, the camera was as good as new. Besides the amazing locations, the camera system deserves some credit for assisting me in averaging over 80 keepers per day.

The S007 loves braving the elements

What about the next generation Leica S?

The S007 continues to impress me, and remains my favorite system for landscape photography, but now that the camera is a little over two years old, many have started wondering what the future holds for the S System. I’ve increasingly heard concerns that Leica is “abandoning” the system and that there has been no activity. Well, I suppose apart from firmware updates, this is true to an extent. Not the abandoning part, but the stagnation aspect.

The current S-System

The lens line is complete. So, I wouldn’t expect any development there. And, the camera has only been on the market for two years. The M240 was around for four years until the M10 was introduced. No one worries about the future of the SL. Yet, it too, shares the same 2015 vintage as the S007. So, while I don’t think a new S is exactly around the corner given past product life-cycles, we certainly can speculate what a future S camera might look like. No harm in some wishful guessing, right?

I'm going to lay out my wish list for the next generation Leica S. Follow along with me and vote on the mini surveys I've put in for some of the more significant items. At the end, there is a poll where you can select from a summary of all possible features.

Higher Resolution

Right off the bat, despite the warm fuzzy feeling I get ogling the crazy details of S files on my 34 inch monitor, the top request has to be a bump in resolution. In fact, I think everyone agrees that a resolution increase is overdue. Three years ago, after Leica released specs on the S007, I questioned why Leica was choosing not to jump on the 50MP bandwagon, instead opting to keep the same 37.5 MP as the S006. The answers from the engineers at Leica were so enlightening I wrote an article about it. You can read the reasoning here: Why Leica is staying at 37.5MP for the S (Typ 007)

But, three years later, I’m hoping that Leica has figured out how to squeeze more pixels in the next S without sacrificing performance. Now, for the math that makes pure speculation seem more legitimate. A 20% increase in linear resolution would take the S sensor pixel dimensions from 7500 x 5000 (37.5MP) to 9000 x 6000 (54 MP). A 30% increase would take this even further to 9750 x 6500 (63 MP). Having spoken to many S users over the last few years, I’m sure that a 54 or 63 MP sensor at the heart of an S camera would scratch that megapixel itch. What do you think?

ISO and Dynamic Range

Naturally, I’d love to see the higher resolution sensor maintain clean ISO 6400 and still deliver 15.3 stops of DR. I wouldn’t complain if either of these specs could be improved upon, but I’m satisfied with both. How about you?

S007 hand held at high ISO

Maestro III

If we assume that we’re all good on the sensor side, we can safely say that the S lenses are certainly up to the task. But what about processing speed? You see, even though the linear resolution would only see a 30% bump assuming a 63 MP sensor, the resulting pixel data would increase by a whopping 70%. Could the current Maestro II  handle this volume of data with no change? Well, the current processor in the S007 can crunch through 320 megapixels of sensor data per second. Even at 63 MP, the camera could theoretically still offer a frame rate up to 5 fps.

This assumes that the sensor readout could keep pace. Nonetheless, this is impressive, considering the Maestro II is going on three years old. Ignoring how good this current hardware is, for the sake of discussion, let’s also add a Maestro III processor to the wish list, guaranteeing that all shooting and playback operation are as instantaneous as possible. Agree?

Buffer Memory

And with the increase in megapixels, I’d like to see the buffer memory upped from 2GB to 4GB. This would allow for longer continuous burst shooting.

Touchscreen

I’d also love to see the 3” touchscreen from the SL find its way onto the back of an S. When I switch to the S007 after using the SL for a while, I will invariably attempt to double-tap the screen to zoom during playback. Of course, nothing happens except for feeling stupid. As we see more Leica cameras incorporate the hybrid touch interface (SL, Q, CL, TL2), it seems natural to extend this to the flagship S. Would you like to see a touchscreen like SL on a future S?

The CL now makes four Leica cameras with touchscreen. Time for the S?

USB 3.1 Type C

Lots of pro shooters rely on tethering for their photography. Moving to the latest standard of USB 3.1 Type C would go a long way to improve that experience, allowing for significantly faster transfer rates. If the same port could supply power to the camera, which the spec allows for, even better.

Video improvements

I personally don’t use the S for video work. The SL is just so much better suited to fill that role. But, the prospect of a large frame video camera with S glass is still appealing. Upgrade to HDMI 2.0, offer full-frame 4K or 5K capture at 10-bit 422 and you’ve got something really interesting.

UHS-II Support

Moving to a faster SD card spec seems like an easy one. In fact, change the mixed SD/CF card combo of the S007 and migrate to the twin SD configuration of the SL. Make both UHS-II if possible, allowing fast throughput for mirrored DNG shooting.

Self-cleaning sensor

One of the few annoyances with the S007 is that the sensor is a dust magnet, especially with my frequent lens changes in some inhospitable locations. A self-cleaning sensor might not eliminate this issue completely, but it should help.

Electronic Shutter

With the fastest S lens coming in at f/2, the S doesn’t need as extreme shutter speeds as the SL or CL, but the option of a silent shutter could come in handy in many professional applications. With E-shutters on many current Leica models, this should be doable.

Longer exposures

As a landscape camera, I often want to use longer exposures than the S007 allows me too. Give me 30 minutes at base ISO, and 30 seconds at ISO 3200 and I'll be happy. Also, give the option of disabling long exposure dark frame subtraction. That feeling of watching a rapidly changing sunset vanish as you wait for the “Noise Reduction” message to clear? Yeah, I could do without it.

Things not to change

Now that I’ve listed what I’d like to see changed, here is what I feel shouldn’t be sacrificed:

• Body Design – I love the S camera body. It is one of the most comfortable cameras to shoot. Very ergonomic with almost perfect balance in the hand.
• Viewfinder – Why mess with the best optical viewfinder on the market? Exactly.
• Dynamic range – I’ve been spoiled by the 15+ stops of DR on my S007. I’d hate to give up ground here in favor of resolution.
• Color – The colors out of the S are gorgeous. Keep the rendering. Okay, if it needs to be changed, M10 rendition would be okay, too.
• Battery – Keep the same Typ 007 battery for maximum compatibility.
• Top display – The S007 and SL share the same monochrome LCD top display. It’s great for info at a glance, with easy readability in both bright sunlight and at night.
• Speed – The S007 is the fastest MFD camera on the market with a frame rate of 3.5 fps and instant playback and image zoom. Let’s keep it that way.

Top display of the S007 shows live DOF readout

Undecided: Mirrorless vs. SLR

I know a lot of people want to see Leica come out with a mirrorless S body using the same EVF used in the SL. I’m split on this one. Shooting with the SL is such a joy. Being able to see your picture, before you take it, is a great experience. As is zooming in to 100% to check focus. But, that optical viewfinder on the S is so, so nice. Am I old fashioned? Perhaps, but I’m also quite comfortable with EVF shooting.

And maybe Leica will indeed move to EVF as they feel more pressure from Fuji and Hasselblad’s mirrorless offerings. Honestly, I could probably be happy either way. But, the EVF experience would have to be like the SL, and not the Hassy X1D, which has over a one second viewfinder blackout and laggy display. Leica specifically waited out the mirrorless game until they had all the necessary tech to make EVF shooting as seamless as optical. Anyone who has used the SL can attest to this.

There are other considerations to think about as well. A move to mirrorless would require yet another line of lenses, as well as an adapter to work with existing Leica S optics. And, battery life would most certainly suffer. On the S007, I can go nonstop for a full day in the field with just one battery in the camera and a single spare in my bag. With the increased power requirements of live view, I'd probably need three or four at a minimum.

That's my take. What do you think?

Final Thoughts

I suppose we will have to wait and see where Leica decides to take the next S. I’ve outlined my wish list here, but take it all with a grain of salt. While I am intimately familiar with the S System, I have no idea, or inside info as to what Leica is planning for their next medium format camera. What do you think the next S should be? Vote on the mini surveys I've sprinkled in the article, the aggregated poll here, and leave a comment to let me know your thoughts.

The post Thoughts on the Next Generation Leica S appeared first on Red Dot Forum.

Expect more Red Dot Forum video content from us moving forward and definitely check out our YouTube channel at www.youtube.com/RedDotForum. Better yet, click the button below to subscribe and stay on top of our latest video updates.

Subscribe to RDF YouTube

If you're an M10 owner, be sure to watch the video:

The post Video: How to Update Firmware on the Leica M10 appeared first on Red Dot Forum.

I know this stuff isn't always easy to figure out so check out the video below the next time you find yourself needing to update your S.

If you'd like to see us produce other specific videos, please let us know. We'll be producing much more content on our YouTube channel in the coming weeks and months. Stay tuned and be sure to subscribe to our channel.

The post How To Update Firmware on the Leica S (Typ 007) appeared first on Red Dot Forum.