AF-frame is shown in continuous low and medium speed. Improved focus peaking, option for sensitivity and new icon for live view added. Flash exposure compensation added to favorite list and to customized buttons. Copy the firmware file to the root directory on your SD card outside the folders; on the "desktop of the SD card. Not in any folders. If you drag and drop the file to the symbol for the SD-card on your desktop it will land the right place.
Export your User Profiles, if you made any such, to your SD card for backup purposes. Go to camera menu: If an update for your lens is available, the camera will ask to start the lens firmware process. In case your User Profiles are not appearing in the camera, go to Import Profiles to import the preferred settings you made a backup of in point 5 above. I use it in slot 1 which I guess should be able to write very fast to it. Which is why we get different UHS standards. On the memory card you see a U with a number in it.
It deals with all sorts of things like tape, hard drives, and more. It's a good thing to have on your computer. The software offers a "Quick Scan" that will some times find the files, but else "Deep Scan" will usually do it. It is rather easy to use and to find the files, and mostly it is just a matter of time to scan and recover the files. The 2GB recovery is free. What the software will find is basically everything.
This means that if you have used the same SD-card for some months or years, you will get layers of information: First you will get all the files written to the card in the recent days. Once the card has been scanned, the recovery itself is as fast as copying files. In other words, if you recover a 64GB card you are likely to recover 64GB of data because the card has likely been written all over, over a period of time. This should get an alarm bell ringing in the backhead that anyone can recover data from your SD-card that you have written to it at any time. If you want to make sure data is erased from the card completely, use the deep formatting in the camera or the free software SDFormatter which is the standard for formatting SD-cards.
If you store your images on SD-cards,or never delete SD-cards with the intention to keep them as back-ups, you should be aware that there is a limited period for storage on them. SD-cards, like SSD hard drives, Flash Memory, Memory Sticks and magnetic tape, it needs to be fired up with some power from time to time to remain active. For SD-cards the time is usually rated to years without being active. If you stick the SD-card into a camera or computer once in a while, it should work. British Journal of Photography: Review as of October 20, By Kristian Dowling as of November 17, Leica SL Typ mirrorless full-frame camera.
Weather sealed body and lenses. Up to 11 fps. A total of lenses not counting the screw-mount lenses g aluminium body. New Leica SL autofocus weather-sealed lenses available: Leica T mount full frame lenses: Vertical grip for additional battery. Bet you never had it like this before. That's one big mother-bazooka of a lens.
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The Leica SL mm. A cut-through of the new Leica SL. It's evident that Leica Camera AG is coming up with a new camera on October 20, and most likely it could be summarized as a Leica Mini S, a remake of the Leica R based on the Leica S technology, with a hint of Leica Q technology and design, and using old and new lenses. My take on it is that it will be a system camera that has taken all possible technology into account and simplified it to be a Leica solution using only the elements that makes sense for a basic camera.
Out and about in New York. The Leica M would be the cornerstone, and the Leica S and the small cameras with fixed lenses often made with Panasonic would be what was offered in the future. If you paid attention around April , you might have knows something had changed. The Leica T was released, introducing a new bayonet mount and a new camera body developed entirely by Leica and for Leica only no Panasonic version of this camera.
If you didn't get the idea in April that the writing on the wall had changed, then the introduction of the Leica Q in June should have given you a hint that Leica isn't the same Leica as five years ago. Without many knowing, Leica Camera AG had hired a very young talented designer Vincent Laine who seem to have a pretty good grasp of Scandinavian design, German know-how and Japanese technology, and how to mix it. It's not that he made the camera all by himself, but he made what you see when you first look at the camera and what your fingers touch when you use it.
Leica Q full-frame mirrorless Leica camera with fixed Leica lens. The statement of cutting down the camera line few years ago clearly isn't in effect anymore. Further, how many would have thought Leica Camera AG able to gather the resources and foresight to make a mirrorless full frame new Leica that was ahead of the big Japanese competitors Sony, Fuji and Olympus? The Leica Q points into the future, but perhaps even more interesting: The solutions and simplicity of it is all made in Wetzlar without Audi or Apple designers involved.
It's an in house product. Read my article about the Leica Q: It's hard to summarize what the right position for a camera producer is in the future, but there are trends. SLR cameras are going down, mirrorless is going up and smart phones are taking over what small tourist cameras used to do. Maybe it doesn't matter that much when you are Leica Camera AG and cater a relatively small market of users who require a luxor-branded product of high quality. The large trend of camera phones cleaning out the need for small cameras, and the mirrorless cameras cleaning out the need for SLR cameras If there's a few thousand people who will spend on the branded quality Leica offer, that's all what is needed.
Now I think more in light and shadows. Used a lot of the techniques on a recent trip and my photos have improved a lot. Well written, easy to understand" K. Cleared my concepts" V. After a couple of years with a long waiting list, I have finally redesigned the course so I can handle the students interested in this course. The number of pages has gone up from to ! I teach you the basics of photography in an easy-to-understand and step-by-step way that anyone from ages 12 to 90 can understand and easily apply. The intention with this extension course is to get you going in your photography adventure with lightning speed, and to inspire you to reach to new heights.
You work at your own pace after you receive the full package of material via mail. If you have bought The Overgaard Extension Course previously you may enroll on this new course for free. Before I get into what is coming, here is a short Leica History Lesson for the new arrivals in the class:. The Leica R cameras started out with the Leicaflex cameras in as an answer to the Japanese SLR-cameras Single Lens Reflex that threatened their Leica M rangefinder camera, that had so far been the de facto standard for photo journalism around the world.
Nikon, Canon, Yashica and many others had tried to copy the rangefinder concept with their own rangefinder cameras, but then suddenly they came up with the SLR camera that had many advantages over rangefinder. My own beloved Leicaflex SL from which I bought as new in it was still new in the box as when it arrived to a German photo store 32 years before I bought it. Leica was the grandfather of the 35mm system but they didn't invent the SLR. The world's first true 35mm SLR was the Soviet "Sport" camera in , but that might confuse the story. The actual breakthrough of 35mm SLR happened from the Contax S of that had a prism viewfinder - thus seeing through the lens [Single Lens Reflex] from eyelevel via a prism and not from above the camera looking down at a matte screen.
With the introduction of the Leicaflex SLR camera as an answer to others technology and their own sliding sales figures, Leica Camera AG had to become the copycat. With the most sexy shutter sound ever heard. A remarkable camera, well-built with mechanical precision, but with much less automatic features than the Japanese produced SLR-cameras. One can almost imagine the forces raging back and forth inside the factory in Wetzlar at that time of history. On one side you have the traditionalists that refuse to see that the position as the most popular camera in the world is being taken over by lesser deserving technological speaking camera models.
On the other side you have a management that sees the trend in the sales figures. So obviously, the answer to the Japanese popularizations of SLR system won't be a full-blown advance with the introduction of a camera that is ahead of technology. No, instead the answer was a traditional Leica in the well-known hand built quality, without the modern automatic features. Too little, too late. Which everyone knows is the Leica M. Caroline in a yellow field.
The life and death of the Leica R system, and much of Leica Camera AG's history up till around has that feel of German stubbornness and not wanting to accept that the world would dare change. Yet with a half-hearted attempt to move on and please the customers. The Leica R system was never up to par with anything else. It was the best lenses, probably the best built cameras, and Made in Germany. With the limited visibility of view from Wetzlar in Germany to the rest of the world, the Leica R remained the best camera in the world for a long time. The Leica R system just never made it to become SLR cameras in the sense of speed and reliability that a professional users wanted.
From my film days. Quality is good, but speed is more important. That was the reality in the periods where Nikon and Canon shifted positions in the SLR market every time one of them came up with faster speed of the film forward and the auto focus.
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And when digital came about, the two major brands Nikon and Canon shifted position again and again whenever one of them came out with faster ISO or faster buffer and auto focus. It is ridiculous to keep ones stand on quality first in a world obsessed with speed. To illustrate this, when the Canon 1Ds was what many photojournalist would carry around, they would almost never use the RAW format or the full resolution the cameras offered. Instead they would shoot JPG files in smaller size; because that is what is the fastest to review and send off to the newspaper, television station or website.
So they never utilized the possible quality or real power of those cameras. Which explains also why they never desired or missed what Leica R had to offer. When a new generation started working as photojournalists, they seemed to prefer the much smaller Canon 5D to he Canon 1D. In recent years size started to matter more - just as much as speed - so the smaller and faster, the better.
We're talking mirrorless cameras now. It's a confusing concept because the Leica M was born mirrorless years ago. But it basically illustrates the hump from simplicity to a bulky professional looking camera with mirrors and all The Fuji X camera was - apart from being very complicated to use - the first really smart combination of the analog viewfinder, combined with an LCD screen for preview of what the sensor saw, as well as focusing.
The LCD would zoom in on a detail of the image so you could focus, then return to the full image so you could frame it correctly. It was a really awful smart idea! In the Leica Q and other mirrorless cameras the analog view has since been omitted and the small LCD screen is all you see. The period from the first Leica SLR to the end of the Leica R system in is quite a downfall from the market leader in everyday tools for photojournalists to becoming an exotic brand with - granted - the best lenses. Leica invented the AF Auto-Focus in the 70's but management in Germany decided to sell it as "nobody want's auto focus", and only God knows how many opportunities the Leica brand missed in this awkward and surreal period of camera history where the "grandfather of 35mm" slid down from market leader to becoming an exotic brand everybody knew, but only eccentrics used.
The crown jewel of the Leica camera, the Leica M had been going strong since it was introduced in , and in the s and 's it was the camera system for photojournalists. Taking a walk at sunset at the Royal temple in Mysore, India. In the period where Leica Camera AG was trying to save them self with a Leica SLR system, they also tried to make changes to the Leica M system so as to answer the quest for more technology. The Leica M5 that was introduced in was the horror of the Leica M system.
A clumsy camera that in an attempt to implement internal light metering changed the dimensions of the popular and well-known Leica M. It sold really bad, and if Leica hadn't introduced the Leica M in , they wouldn't have survived. The M was a return to the well-known Leica, but made in a less expensive edition. Also in that period Leica Camera AG introduced the Leica CL "miniature Leica M" with Minolta that was also an attempt to meet expectations, but didn't really cut it in terms of sale and profit.
Much could be added to this, including that the Leitz family eventually had to sell out and get in new money. It's all in my Leica History article. Let's concentrate on the Leica R her, and the numbers will explain a lot:. These are the numbers for how many Leica R cameras were made. This may give an insight into why the Leica R system was terminated.
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After trying to keep the pace with the SLR market for 30 years, then came digital cameras. As late as , Leica management officially stated that film was still superior and implied that by continuing to offer only film solutions the world of photography would come to their senses sooner or later and realize it too.
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Leica did not see a need to go digital but would rather sit and wait for the times to turn. An interchangeable digital back. In a few seconds one could take off the film back of the Leica R8 or Leica R9 and mount a digital back on the camera. A superior solution, in terms of image quality. A not even close to professional demand for speed. Very symptomatic for Leica Camera AG so far. However, the joy was short lived. A couple of years after the introduction, Imacon in Copenhagen was sold to Hasselblad in Sweden who wanted the unique Imacon knowledge deployed in the digital Hasselblad units.
That put a stop to the further production of the Leica DMR digital back. Andreas Kaufmann had wanted to buy Hasselblad, and if so, this may be the reason that the owner of Hasselblad didn't want to share Imacon knowledge with Leica. In any case, the Leica DMR digital back was history. The obvious answer would be to develop a Leica R10 dSLR camera that was fully digital like the competitors.
Almost in the same breath they presented the Leica M9 as a surprise on September 9, at 9. A camera that they could mount their precious lenses on, without stating if it would be a pocket camera, a medium format camera, and certainly not that it would one day fit on a Leica M digital rangefinder. As it turned out, that promised solution was the Leica M with Live View and EVF-2 electronic viewfinder that was made available in As the rumored attempt to buy Hasselblad had failed, the rumor also had it that Dr.
Andreas Kaufmann then decided to make his own medium format system. True or not, Leica Camera AG did develop the Leica S medium format SLR system which was introduced several times from and onward, indicating how troublesome it can be to create a complete new camera system from bottom up.
Me working with the M9 and S2. The Leica S was aimed at professionals in the fashion and studios. A whole new sales and support organization was part of the creation of the Leica S system. People who had previously worked for Capture One, Hasselblad and so forth was moving to Solms and Wetzlar to make the new Leica S a success. It also had to, because the Leica S was such a bold move that if it didn't succeed, Leica Camera AG had invested so many resources that the factory wouldn't be able to survive.
The key market would be professionals, but with usual Leica-ish stubbornness the factory realized that none of the existing central shutter systems was good enough for the Leica S. This set back the introduction of the Leica S lenses with CS shutter Central Shutter inside the lens with a couple of years, making the professional market wait a similar time before they would even consider the system.
Luckily for Leica Camera AG enough people around the world who wasn't fashion photographers or professional studio photographers found the idea of a superior made SLR system with superior lenses so tempting that they bought it all. And that alone was enough to make the Leica S sustainable even before the professionals started using it. While this drama played out in Germany, Leica R users around the world sat at home and polished their R lenses in eager expectations of a the future Leica solution that would take their precious Leica R lenses.
Nobody knew what it could be at that time. While there is much we don't know about the future, here's a few things I can summarize that might get you thinking. There is a general trend that large cameras get replaced by smaller ones. SLR cameras gets replaced by mirrorless full-frame cameras. Leica made the Leica S medium format and reduced it's size to that of a SLR camera and bought the Sinar factory in Switzerland as their large format offering 4x5". Capture One and Hasselblad cameras are large, but as technology move forward, for no real reason.
They should have been made more compact, and Leica S was the way to do it. The sensors have basically reached a level where it is not a megapixels race anymore. It's the compactness and speed of operation. And often the flexibility. Some times 4K video. Leica offers a range of cameras with high quality lenses from 18mm to mm for Leica M and mm for Leica S , but if you want to photograph birds or go on a safari in Africa, there are no tele lenses from Leica offering that possibility.
You would have to go back in Leica history and use some of the R lenses. Or wait for the mm Leica S lens that has been promised since Obviously the Leica S, despite the many delays, was actually scaled for handling large amounts of data from the very beginning. In the Leica Q the power of the Leica S technology results in almost endless buffer capacity with no delays.
The key in the recent years of success for Leica has been to be Leica rather than trying to be Fuji or Sony. What it means to be Leica is to use the backcatalog of technology and knowledge to make simplified high-quality products for a small group of users who appreciate simplicity and are willing to pay the price for something nobody else offers. There is still some way to go to get back into the position of the pro-active inventions Leica was known for in the beginning of the 's where most new products was way ahead of the market and set the standard so high nobody could really do anything else than try to make a less expensive copy.
I wouldn't expect that level again anytime soon. Leitz was a bold and daring genius surrounded by genious in mechanics and optics, in a very changing world, and Leica was an entrepreneur company. Almost a Silicon Valley company placed in what was known as one of the centers of machine production, Wetzlar, Germany. The Leica S has AF but fairly good room to make it work. The Leica M doesn't. Peter Karbe consider the Leica T lenses as very good lenses, and he is right in doing so. The concept may or may not be my favorite, but the lenses are unarguably very good.
In some photographs they could even be mistaken for Leica S lenses in terms of sharpness and details. There is no doubt that Leica Camera AG is playing with interesting stuff. In a recent article in PC Magazin head of the digital imaging department Dr. Volker Zimmer talks about future change of micro-lenses on sensors, courved sensors and other things that will allow smaller design and higher quality.
Including more dynamic range, more accurate colors and higher ISO. We're talking a 10 year range, so don't get all exited this Christmas. It was evident already back in that Leica had been looking hard at the electronic viewfinder technology for a couple of years as a future for the Leica cameras. The "Max" sensor in the Leica M hasn't been fully utilized yet, as it is implied in this article in The.
Clearly they were aware of 4K video and other future possibilities. For me, the interesting overall picture is that the brains at Leica works towards simplicity. I mean, even before getting to the specifications I'm confused: A new camera is coming. Nobody knows if the new Leica will take R lenses. The only thing I would say is that it is a new system based on the accumulated experience of the Leica R and Leica S and that it will implement auto focus on a full-frame sensor.
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It might take Leica S lenses and it might not. It might take M lenses or it might not. And it might take R lenses or not. The best basis for further speculation is oddly enough an image of a new binocular that Dr. Andreas Kaufmann posted on his Facebook profile on September 4, An elegant spill meant to go viral or a Freudian slip? As always in Leica products, it's the bokeh that makes the picture interesting.
Photo by Andreas Kaufmann, September 4, The binocular is well worth noticing in that it is a limited edition binocular that sells for almost 4, Euro. That alone tells ample about the boldness, design and ability to make new products at Leica Camera AG. What the image tells is not much. It's not a Leica S, and it's not as large as the Leica S. The lens might or might not be a Leica S lens, but is clearly a tele lens inspired in design by the Leica S lenses. What I mean is, let's not rule out the Leica M. It could be a useless system base on Leica S technology but with as vague concept as the Leica T the smartphone camera without smartphone or the Leica M5.
Or the genius of the Leica Q the best-looking and most advanced mirrorless full-frame camera existing or the Ur-Leica the 35mm camera that set the standard for all other camera systems for more than years. I hope you enjoyed this history tour and the insight into the dominance and downfall of Leica, and more interestingly the rebirth of Leica Camera AG.
As always, feel free to e-mail me at thorsten overgaard. You might also read my article "What if? Leica SL latest firmware. Photo by Jimmy Bush. Thorsten von Overgaard is a Danish writer and photographer, specializing in portrait photography and documentary photography, known for writings about photography and as an educator. Some photos are available as signed editions via galleries or online. For specific photography needs, contact Thorsten Overgaard via e-mail. Feel free to e-mail to thorsten overgaard. A dying camera type The dSLR is a dying camera type. What's the point in having a large camera with large lenses?
The largest lenses, in fact. USA "I love your insights on photography. The Leica SL starts delivery The Leica SL and the first lens was available as of November 20, and if you do your research, you might find one for delivery. The SL was seeming like the one camera to join them all. It could be the R solution that never was, a pro video solution for budding cinematographers looking for a different look, S users looking for a backup body, M users looking for more DSLR functionality without sacrificing the Leica aesthetic or image look. The new SL seemed to have all the right specs, but I was anxious to get my hands on one.
Luckily, in the factory store, a demonstration area was set up for all to enjoy. And I do mean everyone. Hordes of excited attendees flocked to the demo table in the center of the space. I managed to sneak in and start playing with the new camera. On display were the SL body, mm and mm SL lenses, along with an M adapter and a couple M lenses, and some TL lenses, including a new one more info on the that to come.
I picked up the camera and was immediately impressed by the feel. Is it like a petite Sony A7? No, certainly not, but the SL feels much more robust and fits in your hand wonderfully. Like most Leica cameras, it is a living example of Das Wesentliche, the Essentials. The interface is clean, intuitive and multi-use, modeled after the Leica S Typ Being so familiar with the S operation, most everything on the SL was intuitive for me.
Top dial, rear thumb click dial, rear joystick, top deck LV and video buttons, soft keys surrounding the rear LCD, clear monochrome transflective top LCD.
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The only additional control is the EVF button next to the eyecup. And, the assignable DOF button has moved to other side of the lens. Overall, though, I got the impression of a mini S camera. But while the control layout is very similar, the design of the camera sets itself apart from its bigger S sibling. Where the S is curved and flowing, the SL strikes a minimalist tone with crisp edges and a more boxy aesthetic. In discussions with Stephan Schulz, head of professional products, he explained the design direction. Previously, Meizner worked on the R8 and the S2 which bear more than a passing resemblance to each other.
The SL is different. The overriding impression they wanted to convey was that the SL is a workhorse. Quite frankly, the camera looks far nicer in person than in the product photos. The smooth machined aluminum body is minimal and elegant, yet beefy and solid. Someone at Leica even told me that it felt like a hammer.
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The grip and rear of the camera is clad in a diamond patterned grippy leatherette, reminiscent of the Q. Behind its rugged good looks, the SL packs a technological punch. The little bump to the left of the viewfinder is a GPS receiver. The sensor is self cleaning finally!!! The AF system can track faces, or anything else you lock onto to, across the frame in dynamic mode.
All of the buttons are user assignable. And, of course, the viewfinder which Leica is calling Eye Resolution is in a class of its own. All the camera and shooting information is displayed on the top and bottom of the live image.
The camera I picked up had focus points covering almost the entire image. The little thumb joystick on the back made quick work of selecting a point. Half pressing the shutter to activate AF on my chosen point, I was floored by the speed. It was almost instantaneous, even in the not-so-great lighting conditions in the demo area. The longer zoom was just as speedy, picking out faces in the crowd with ease.
And, the active image stabilization was clearly working well to steady the picture in the viewfinder. I could see a little of the telltale float when I racked the lens out to Impressive that I was able to get sharp images inside, at night, with a mm handheld. This was clearly a new kind of Leica camera. The mm APO is really impressive. Nobody shoots them at 70mm and mm is always a bit too short. Leica has stepped up with a different solution which I think is just brilliant.
It feels remarkably well balanced on the camera and light in the hand.