Skip to content

Posts tagged ‘Samy’s Camera’

First Impression of the LEICA Q “Hemingway” (Typ 116)


O and I were able to get the Leica Q (Typ 116) full frame mirrorless compact camera with a fixed 28mm Summilux f1.7 lens loaner for a week. Many thanks to Ebehard “Ebi” Kuehne (Leica District Manager) and the notorious Tibor Szilagyi (Samy’s Camera, Los Angeles).


DISCLAIMER!!!: My review is only based on the images I take and how user friendly the camera is. Images are post processed with pushing or pulling on the contrast, darks, brightness, and highlights. That is about the only post work I do. And, my bias is based on if the camera helps me capture the image I envisioned. I am not knowledgeable about equipment from any technical point of view. So if any one expects to read detailed specifications or any tech reviews, there are other sites that have the expertise. You can go to L-Camera Forum here to find out a list of all the reviews of the Q. You can check out all the specifications at the Leica site here.


ISO 400 – 1/1000 sec – f5.6

Progress is impossible without change, and those who cannot change their minds cannot change anything. – George Bernard Shaw

For the past year, my love for photography and Leica suffered a huge set back due to a confluence of energy consuming family issues. I felt stuck. And this blog got stuck too. I know you all have had this experience. Whether it is something personal or professional, we all go through this phase at some point or another in our lives. I realized I needed something greater than myself to inspire me. I needed to change the status of ‘stuck’ so I can progress.


ISO 400 – 1/800 sec – f5.6

The last time I made improvement in my photography and deepend my love for it was when the Leica M Monochrom was launched. So I’ve been looking for something similar to help reanimate my two loves again. I thought Leica’s pretty T-model would lure me back. But it was a fleeting rendezvous and like a wisp of wind, its shining beauty faded as fast as it came. So I waited for the next camera development. Before it’s announcement in July this year, Leica was secretly developing their own solo project. It was code named ‘Hemingway’, after the writer Ernest Hemingway who was bold, no nonsense and extremely efficient with his words. When I heard rumors, I knew this one would be a game changer for Leica. Come on, with Hemingway as inspiration, it had to be. And sure enough, when Leica announced the new Q model (Type 116), I got excited.


ISO 400 – 1/1600 sec – f5.6

I couldn’t wait to make the first photos. The first time I pressed the shutter, I knew Leica finally made it. This is Leica’s own venture and not some repackaging of a Panasonic camera. They say they have ‘redefined the compact camera’ and this time, you bet Leica has. Now let’s see what they did:

The Leica Q is a not so compact 24-megapixel CMOS sensor full-frame camera with a 28mm f/1.7 Summilux fixed-lens. Video records at HD 1080/60p. It is by far the most intuitive mirrorless camera I have had in my hands. I did not have an instruction manual so I tried everything by feel. And it wasn’t hard to navigate the menus.


ISO 400 – 1/3200 sec – f1.7

Although I had it for a week, I really used it for about 2 short days on account of my day job. But in the brief time I was more than pleased with the experience and especially my results. Now don’t expect major testing in this post. That’s for pixel peeps and I’m not one of them.

We all know that often, initial inspiration comes from having the right tools. You know- change of mindset, change of environment and ahem, and of course change of equipment. In this case the Q. But the real spark comes when you see the results of the shoot and you can say ‘Hell yeah! I took something worth looking at.” It makes you want to shoot more. We love to be rewarded for our efforts. And the ease with which you handle a camera makes it more fun. O and I both shot with aperture priority.


ISO 400 – 1/6400 sec – f8.0


Let’s start with the physical characteristics: The design team at Leica headed by Peter Kruschewski and Vincent Laine did an amazing job. They distilled the essentials of a Leica camera and the result is a modern Leica aesthetic and not a kind of copy. It recalls the mastery of Dieter Rams of Braun who created classic simple designed products. And the Q rates up there.

The Magnesium body is covered with leatherette. The hatching pattern is subtle and beautiful similar to the one on the Titanium M9 which I always secretly hankered for. The top and bottom plates are anodized aluminum. The top plate is thin rather than the bulky M. And the ergonomic thumb rest indent that cuts the top plate is a beautiful design touch. It helps the grip. Although, with the heavier lens, you’ll still need a purposeful wrist strap or shoulder strap as back-up. This is where design was primary over ergonomics.


ISO 400 – 1/6400 sec – f8.0


Leica paired a 28mm f/1.7 Summilux Aspherical lens to the Q body. And that was a stroke of genius. Leica glass is by far the best you can ever buy for any camera– bar none. The Summilux is their flagship top-of-the-line series. The 28mm is the most compact of all their lenses. You’re guaranteed beautiful sharp images with that signature Leica look. It makes the Q the best full frame fixed lens compact camera ever built. I don’t think there are many out there except the Sony Cyber-shot RX1R. Since it is a fixed lens, Leica decided to add digital zoom to 35mm and 50mm with the touch of a button on back of the top plate just below the shutter speed wheel. Frames pop up in the electronic viewfinder showing the crop lines of each focal length in typical range-finder fashion. The crop reduces the Jpeg image size to 15.4 and 7.5 Megapixels respectively but leaves the DNG RAW file in tact.

FYI- A curious thing happened in post production. I loaded these images into Lightroom 5 and pushed the contrast slider just a tad. I loaded it into this blog and realized I may have been heavy handed. But when I pushed the Reset button on the 35mm and 50mm images, they went back to full frame. When I hit the Previous button, I could not recover the 35mm framing but was able to recover the 50mm framing.

Leica Q 28mm

28mm ISO 400 – 1/5000 sec – f8.0 (click image to see full frame)

Leica Q 35mm

The image above is the full frame image of the 35mm because I lost the framed shot which I was able to save a lower resolution of it before I pressed the dreaded Reset Button in Lightroom. (click the above image to see full frame)

The image below was framed in camera. Obviously, there needs to be a fix by both Leica and Lightroom in Firmware and updates.


35mm (digital zoom reduces the JPEG to 15.4 megapixels) ISO 400 – 1/5000 sec – f8.0

Leica Q 50mm

50mm (digital zoom reduces the JPEG to 7.5 megapixels) ISO 400 – 1/5000 sec – f8.0 (click image to see full frame)

I have been shooting street and all kinds of photography with the Leica’s 35mm f/1.7 Summilux lens. But since playing with the 28mm, I am enjoying the wider angle.


I love the built-in Macro allowing you to focus as close as 6 inches. It has a nifty distance ring that slides past the regular distance ring when you turn the macro dial around the lens. It has a very nice resistance feel and sound to it. This little addition makes the camera more of a go-to camera for everything from wide shots to detailed close-ups.


ISO 400 – 1/5000 sec – f5.0 (indoor shot)


The camera takes advantage of a full-frame (24 x 36mm) CMOS sensor with 24.2 million effective pixels with no filters. That means it’s clean. And for a compact camera, it has a powerful professional Leica Maestro II processing engine similar to Leica’s S camera (medium format for professionals).


ISO 25,000 – 1/640 sec – f1.7


Its range is from ISO 100 to 50,000. Combine that with f1.7 aperture and its low light capabilities is better than my Leica M240. It delivers images with detail even in the high ISO range without too much noise. I was pleased with Hand-Held images up to 25,000 ISO in low light. However, the grain started to creep in after ISO 25,000. BTW, Like all Leica cameras, it’s always better to under expose as the sensor allows you to pull details out of the shadows.


ISO 400 – 1/200 sec – f8.0


Up until now, Leica either never installed auto focus and if they did, they did so on the smaller compact cameras and they were painfully slow. The Q’s auto focus (AF) is the first one that is precise in real time. It does lose its precision when in extreme dim light situations. But that’s true of all auto focus that measures contrast.

I know you know what I mean when I say I lost so many potentially keeper images, all because I was fumbling with my focus, so I tend to zone focus (setting my aperture at f8 or f11). With the Q, I did try a few shots using manual focus, but I mainly shot in AF mode. It really enhanced my photography experience because for the first time I could concentrate on making the shot and not on focusing. I am convinced without the Q’s autofocus I would not have been able to capture the hand behind the curtain in my first image above or the woman walking in the background through the car window.


ISO 400 – 1/250 sec – f8.0


For a compact camera, the Q has a powerful professional Leica Maestro II processing engine similar to Leica’s S camera (medium format for professionals). This allows high speed continuous burst shooting at 10 frames per second in full resolution.


ISO 400 – 1/2500 sec – f8.0


The 3″ LCD multi-touch screen has 1,040,000 pixels which is higher resolution than the M. You can zoom in and out of photos by pinching. It also allows you to move the focus point with the touch of a finger which comes in handy. I have to say, I used this option rather frequently.

The internal EVF has 3,680,000 pixels making it extremely clear and bright. I prefer this than the Live View in the LCD screen, which is bright but glare sometimes bounces off it.


ISO 400 – 1/2500 sec – f5.6


The basic functions are pretty intuitive. The most intuitive of all Leica menus by far. However, I find that the menu in general has much too many options that are buried. I’m the type of person, out of sight, out of mind. There are so many functions that I just don’t know what to do with it. But I guess Leica erred of the side of more is better.


Super quiet.


ISO 400 – 1/5 sec – f1.7


This is Leica’s first camera to have a optical image stabilizer. This is perfect for someone like me who always tilts the camera when I press the shutter release, causing my images to often be blurry. See the night shot above? I shot it wide open at 1/5 sec. Now that’s image stabilization!


ISO 400 – 1/80 sec – f4.0


ISO 400 – 1/15 sec – f4.0


I did not have time to test the connectivity, but the idea totally intrigues me. It’s definitely an option I would like to explore.


ISO 400 – 1/25 sec – f4.0



In the big picture, I think it’s actually quite a bargain. Let me explain: A brand new Summilux 28mm F1.4 Aspherical lens is selling for $5950. The Q lens is a Summilux 28mm F1.7. The difference is hardly negligible. For $4250, you get a fabulous lens and a camera attached to it.


ISO 100 – 1/500sec – f1.7


So what do I think about this camera? I love it. It’s the perfect street photography and all round camera. I am tempted to consider it as my back-up. It is like having a better mini M240. But as a Leica friend of mine summed it up so aptly: “if I bought a Q, I would never use my M.” I’m inclined to agree.

I hope this is the beginning of Leica working its way back to the forefront of camera technology that its original brand and reputation was built on. I understand they make handmade products and therefore need to stay in the luxury range for financial reasons. And because of that, they should be selling the ‘state of the art’, which has been slow in coming. But with the Q, I look forward to seeing Leica’s forward development.


ISO 100 – 1/250 sec – f1.7

First Impression of the LEICA M MONOCHROM (Pre-production Model) PART 1

O was able to get the Leica M Monochrom preproduction model loaner for a couple of days, thanks to Ebehard “Ebby” Kuehne (Leica District Manager) and the notorious Tibor Szilagyi (Samy’s Camera, Los Angeles). The minute we got it, we went out to play. And wow, did we have fun.

We have many images to show with varying degrees of success (It’s not all art.), so I have decided to do a two-part post. The second part will be primarily images while this first part will be my ‘report’.

ISO 400, F16, 1/350 sec, 35mm Summilux

DISCLAIMER!!!: My review is only based on the images I take and how user friendly the camera is. Some images will be post processed with slight crops (to straighten the shot) and pushing or pulling on the contrast, darks, and brightness. That is about the only post work I do. And, my bias is based on if the camera helps me capture the image I envisioned. I am not knowledgeable about equipment from any technical point of view. So if any one expects to read detailed specifications or any tech reviews, there are other sites that have the expertise. You can go to L-Camera Forum here to find out a list of all the reviews of the Monochrom. You can check out all the specifications at the Leica site here.

ISO 400, F16, 1/250 sec, 35mm Summilux

“The virtue of the camera is not the power it has to transform the photographer into an artist, but the impulse it gives him to keep on looking. – Brooks Atkinson (Pulitzer Prize Theater Critic for New York Times) – 1951, from his book- Once Around the Sun

ISO 400, F 16, 1/180 sec, 35mm Summilux

One of the greatest feeling one can ever experience when you have a new camera in your hand, is the intense desire to be a great artist or photographer or both.  Somehow, the camera will give you the power to create amazing photographs. Why buy a new camera if it can’t empower you, right? Well, the Monochrom didn’t disappoint. Not that our photos are amazing, but it gave both O and I that warm and fuzzy feeling we wanted.

Monochrom ISO 400, 1/180 sec, 35mm Summilux

M9 Converted ISO 400, F6.7, 1/750 Sec, 50mm Summilux

The last four times I went out shooting, I came back with nothing worth looking at. O and my fellow street photographers had better luck than me. I was rather depressed, wondering when was I going to get out of this horrible slump? Then O told me about getting a Monochrome loaner. You can imagine how ecstatic I was. This was the camera that could take me out of the slump.

ISO 400, F16, 1/250 sec, 35mm Summilux

Once we had the camera in our hands, all we could think of was making the shot. But the pressure was huge to get something worth the privilege. We had limited time – two half days (we still had our day jobs to contend with and the availability of the camera was spur of the moment). So don’t expect major testing in this post although we did do a few.

ISO 400, F16, 1/125 sec, 35mm Summilux

O and I both shot with aperture priority ranging from F8 to F16 for exteriors and F1.4 to 5.6 for interiors. Unfortunately, when I loaded the images into Lightroom 4, the exposure information only registered the shutter speed but not the aperture (darn!). I hope this will be fixed with the updated firmware when the production models come out. I noted the F-stop when ever we were able to recall. The ISO’s vary and is noted with each photo. And generally, we zone focused every time.

ISO 160, F 8, 1/60 sec, 18 mm Super Elmar M


Let’s start with the physical characteristics: It’s effectively the M9-P. But the finish is a little different. The vulcanite on the M9 is replaced with a finer textured leather that’s nice to the touch. The metal is matte. There’s no logo or dot except for the tiny “Leica Camera Made in Germany” engraving on the back.
 The weight with battery is 600g (21 oz).
 The same as the  M9-P. I will talk about LCD screen, Menu, Frame Buffer, etc. as separate items below.

ISO 5000, F 5.6, 1/250 sec, 21mm Summilux


One of the newest and much awaited attributes of the Monochrome is the increase of the ISO range from M9’s highest of 2500 to Monochrom’s highest of 10,000. Leica didn’t change the 18 Megapixel M9 sensor made by Truesense (ex-Kodak), but it did change the parameters on what the sensor senses. Since color is no longer a concern, there is no need for the color filters that was added in front of the M9 sensor to help it recognize and record the color in light. I understand that other things like color value interpolators and artifacts no longer are of concern to black and white images. It’s really like taking away all the various layers from the sensor, allowing it to be its original naked self. So it shines when it is able to deliver full and high resolution without compromising for color.

ISO 10,000, F5.6, 1/2000 sec, 18mm Super Elmar M

It was a pleasure to take this camera around at night or in low light situations and be confident that we could shoot some photographs without bringing a flash or having to switch to our Ricoh GXR or Fuji X100. We had so much fun with the Monochrom, including having a few drinks so we could admire the design stripped of the decorations that the M9 or M9-P has. 🙂

ISO 10,000, F 5.6, 1/125 sec, 50mm Summilux


The most unique thing about this camera is the grain. The grain is just simply exquisite. The grain is not the digital hard edged type you get with the M9. It’s a soft film-like grain. I noticed noise starts to creep in after around 7-8000 ISO. Some reviews mention the optimal ISO is 5000. You can see below, at ISO 10,000, the grain does get a little muddy but I think still acceptable. I think the grain rendition alone is a reason for the Monochrome camera to exist.

ISO 10,000, 1/125 sec, 50mm Summilux


The other most unique thing is the tonal value of the images. The blacks and grays are complex in range compared to the more contrasty M9. With the help of the new raw image data histogram, you can fine tune your exposure. The tones remind me of the way film responds.

ISO 5000, 1/180 sec, 50mm Summilux


At the beginning, Ebby warned us that the firmware was not ready so the preproduction model would be a little slow. He was right. The frame buffer still filled fast, slowing the computer down. After shooting continuous for 3 frames, the red light at the bottom of the LCD screen flashed for several seconds.

ISO 3200, 1/45 sec, 50mm Summilux 

While I could shoot a few additional frames, after about 6 to 8 shots the camera would not shoot anymore and I had to wait before I could resume. I am assuming Leica will have this part resolved by the time they deliver the production model.

ISO 3200, 1/60 sec, 50mm Summilux

ISO 3200, F 1.4, 1/125 sec, 50mm Summilux


If you like to shoot with perfect exposure on the subject and allow the brights to blow out and over expose, then you’ll have to adjust the way you shoot. In the photo above, I center metered on Caitlin, the bartender and thought the shiny object on the left would not blow out. And the photo below, I center metered on the bread and not the light in this photo and both were mistakes.

ISO 3200, F 1.4, 1/180sec, 50mm Summilux

Had I anticipated this problem, I would have brought along my M9 or any color camera, film or digital. But, one always learn from hindsight. 🙂

This camera is best used with exact or under exposed shots. Over exposed shots do not have enough information for recovery in Lightroom. Believe me, I pushed every lever in Lightroom hoping to dig some detail out of the blown out areas and never found any, unlike images shot with the M9.

ISO 10,000, F 8, 1/1000, 18mm Super Elmar M


The 2.5″ TFT LCD with sapphire-crystal Display screen is still the same ridiculously cheap one as the M9-P. I always struggle with focus in low lighting as you can see here despite the ‘bright-line frame viewfinder. I had hoped that since there is more data information from the Monochrom sensor, the screen would also show more detail for when I proof my focus. Unfortunately, that is not the case.

Monochrom ISO 400, 1/45 sec, 35mm Summilux

M9 Converted ISO 400, F 2.4, 1/60 sec, 50mm Summilux (see how the sensor is struggling with low light at the same ISO)

The Menu is basically the same as the M9 and M9-P except for:
1) The added the high ISO range.
2) The elimination of white balance used only with color.
3) A new histogram display to show the raw data combined with a clipping display. You can fine tune and optimize your exposures.  I really didn’t have time to play with this feature.

ISO 400, 1/60 sec, 35mm Summilux


What I realize about this camera is that you have to think differently. You have to think black and white. I was frustrated several times because I saw a scene in color and when I shot it, the image did not have the meaning or punch that color would have given me. And I didn’t always have O beside me to shoot the color version. And nor did he have me all the time to shoot the color version when he was shooting the Monochrom.

Monochrom ISO 2500, 1/45 sec, 35mm Summilux (I didn’t meter this properly so you can see, the horizon is blown out and details of the distant mountain seen in the color is lost)

Since we see in color, you have to train yourself to see in black and white.  And when I use my M9, I never shoot in monochrome or view the jpeg in monochrome. I always view in color first.

M9 ISO 1250, F13 , 1/125 sec 50mm Summilux

The other thing is you have to know the camera inside and out. You can’t be cavalier about your exposure like you would with normal color digital cameras, M9 included. The camera demands you to be more precise about what you capture in-camera as that is how it appears to be designed. Treat it like a film camera where post options are limited compared to the typical color digital camera. But you have the luxury of not having to wait for the development time of film.

ISO 400, 1/180 sec, 35mm Summilux

Professionals and amateur who normally shoot in black and white will find it easy to use. However for us, the two days O and I had the camera was not enough to wrap our heads around it. So please excuse the quality of the photography.

ISO 400, 1/60 sec, 35mm Summilux (This image is completely unprocessed-raw except that it’s a jpeg-raw)


At a cool US$7,970 +/- for just the body, not including taxes, the price hits you where it hurts. That’s US$1,000 more than the M9 or the same as the M9-P and you don’t have the flexibility of shooting both color and black & white. If you want the option, you’ll have to bring another camera, defeating the concept of traveling light. I wish it was at least the same cost as the M9 and not the M9-P.

ISO 400, 1/45 sec, 35mm Summilux


So what do I think about this camera? It’s funny how things take left turns in life. When Leica announced the Monochrom back in May, I was very skeptical. I thought: who would want to shoot with a dedicated camera when you have the ability to shoot color and then convert it? I also thought: who would spend so much money on a dedicated camera?

Monochrom ISO 400, F11, 1/125 sec, 35mm Summilux

The more I read about it, the more interested I became in this camera. Now that I have played with it, I can honestly say, I want to spend more quality time with it because I love it. I agree with the concept that it is the photographer’s eye and not the camera that makes the images. But we all pore over countless photobooks for inspiration, right? And now, the images that the great masters shot on black and white  film no longer seem so unattainable. I don’t mean to be presumptuous, but the desire to try to shoot amazing photos using the masters as a standard to aim for, is exponentially intensified when I use the Monochrom.

M9 Converted ISO 400, F8, 1/750 sec, 50mm Summilux

O is completely sold on this camera. He says he is already imagining the cool shots he can make with it. While we shoot with our M9 or Ricoh or whatever, O and I talk about shots that we could make with the Monochrom. Isn’t that the beginning of aiming to shoot better photography?

ISO 400, F16, 1/60 sec, 35mm Summilux

As the Monochrom is pricey, we have already sold various things,  just to make room for this little baby. And we can’t wait to get it and go out shooting with it. 🙂

I like to think that the Monochrom is much like the Levitated Mass by artist Michael Heizer  you see below. It’s something bold and ‘out-of-the-box’ to look at in wonderment. In the case of the Monochrom, you’re in luck. You can also use it with wonderment. 🙂

ISO 160, 1/125 sec 18mm Super Elmar M

I’ll be posting part two with a variety of images- architecture, landscape, and of course, street within the next two weeks. So keep a look out for it!!

UPDATE: AUGUST 17, 2012, I posted Part 2 here.

%d bloggers like this: