LEICA Q2: 47 MEGAPIXELS + WEATHER SEALING

By David Farkas, LeicaStore Miami

When Leica Camera announced the Leica Q2, it was the highly anticipated successor to the popular Leica Q (Typ 116). The new model keeps the same compact form factor and exceptional 28mm f/1.7 Summilux ASPH lens, but offers notable and quite significant improvements over its predecessor. 

 

The headlining changes include the brand new 47 megapixel full-frame CMOS sensor with updated Maestro II image processor, a stunning 3.68 MP OLED EVF, revised camera controls, and a larger battery from the SL, not to mention full weather and dust sealing. As good as the original Q was, and still is, the Leica Q2 is a giant leap forward. Let’s take a look at some of the bigger changes. You can also check out our hands-on video here:

New Sensor

At the heart of the Leica Q2 is a newly developed 47.3 megapixel full-frame CMOS sensor, offering almost double the resolution of the Q (Typ 116). The additional pixels now make using the built-in crop modes a much more realistic option. At the 35mm setting, you’ll now get 30MP and at 50mm expect 15MP. There’s also a new mode, 75mm, which will result in a 7MP final image. If you do use the crop modes, the on-screen review will show the cropped images, but rest assured that the DNG recorded to the SD card still contains the uncropped, full image off the sensor.

The maximum ISO remains unchanged at 50,000, but we’re expecting a slight improvement in performance. Even if noise remains the exact same as the previous 24MP sensor in the Q, the result should still be better. Keep in mind that magnification at viewing size, be it online or in print, will be much less due to the increased pixel count. This means that any noise will be smaller and less noticeable. We’ll reserve judgement until we can fully evaluate for ourselves, but our initial impression after some quick test shots show about a one stop improvement.

Weather Sealed Body

Full weather sealing has been a frequent request from the Q community, and Leica has listened. Everything from the battery compartment to the lens now has extensive gasketing like the larger S and SL cameras. This makes the Q2 an even more ideal travel companion now that you don’t have to worry about putting it away if the weather goes south. Part of the sealing process has been to remove the port door on the side of the camera. So, the Q2 no longer has USB or HDMI out.

 

New OLED Viewfinder

The EVF resolution of 3.68MP is unchanged from the original Q, but the move from an LCD to an OLED panel has resulted in a massive jump in viewfinder quality. One look through the finder and you can immediately see the improved color gamut and accuracy, with a brighter and clearer image. Greater magnification and additional eye relief also contribute to a fantastic viewfinder experience, which is crucially important on a live view camera.

 

The updated diopter correction dial features an ingenious design. The dial is fully recessed into the back of the camera. A single click and it pops out, can be turned to adjust, then clicked back into place. This eliminates the possibility of accidentally knocking the diopter yet still allows for easy tweaking.

New battery

Due to the higher power requirements of the 47MP sensor, the Leica Q2 has switched from the BP-DC12U to the BP-SCL4. This is the same battery used in the SL and should result in longer run times and more shots per charge. The move also makes a lot of sense, since so many Leica SL users keep a Q as a second body. Being able to share batteries and chargers sure beats having to carry two completely different power setups. The only drawback here is the increased cost of the larger batteries.

4K Video

We now have some additional video options on the Leica Q2, with the ability to shoot Cine 4K and 4K UHD, as well as Full HD at 120fps. Interestingly, all the video modes use almost the entirety of the sensor, with very little cropping, even at 4K. This was a nice surprise and adds to the utility of the camera. Unfortunately, no HDMI output and no microphone input limit recording to SD card and sound to the stereo microphones on top of the camera. Even though its use for vlogging might be limited, the Q2 could make a very interesting B roll camera with its wide, fast and close focusing lens.

 

Faster everything

Thanks to the refreshed Maestro II family image processor, the Leica Q2 is blazingly fast in all areas. Even with twice the pixels, the processor manages to still churn through 10 frames per second at maximum burst. And that speed translates to the autofocus system as well, with the Q2 locking in quicker than the Q. The electronic shutter has been juiced up too, from 1/16,000th to an insane 1/40,000th of a second. Honestly, I can’t imagine a practical application for ever needing such a high shutter speed, but it’s cool, nonetheless. To record such massive image data, about 85 MB per DNG file, the Q2 employs full UHS-II SD card compatibility. The speed difference? In our testing, we saw an almost 60% faster image recording rate with a 300MB/s UHS-II card versus an already quick 95MB/s UHS-I card.

Better connectivity

Every current Leica digital camera now has built-in Wi-Fi and connects to the Leica FOTOS app for iOS and Android. But the Leica Q2 goes one step farther by incorporating Bluetooth LE (Low Energy). The Wi-Fi/BT combo facilitates an always-on connection so when you fire up the app, the camera instantly responds. Unfortunately, since the new FOTOS v1.2 app won’t be released until April 3, we weren’t able to test this new feature.

 

Revised controls

Besides the under-the-hood upgrades we’ve already covered, the Leica Q2 also gets some external changes. Most are functional and not merely cosmetic. On the back of the camera, the five rear buttons of the original Q have given way to the three-button setup that are now standard on the M10 and CL: PLAY, FN and MENU.

 

As mentioned above, the diopter has been moved from its previously difficult to reach placement on the side of the eyecup to its right, recessed in the body. Moving to the top of the camera, the changes are subtler. The shutter speed dial remains in same spot but gets a little makeover and more significant detents. A single stage on/off switch takes the place of the old three-position one. And the shutter release echoes that of the recent Q-P. Here, we can also see that the video button is gone, but the top/rear thumb wheel now includes the center function button that works so well on the CL. The wheel itself is much firmer, and has been moved slightly forward, both in an effort to address any inadvertent dial turns as well as increasing tactile feedback.

 

On the lens, the aperture and macro mode rings have been widened for improved handling. All three lens controls feel smoother and with more pronounced detents.

 

The bottom of the camera has some obvious changes. Absent is the battery/card door combo. In its place, the BP-SCL4 battery now slots directly into the Q2, as it does on the SL. A metal latch releases the battery, but a soft press upwards is still necessary to fully remove it. This prevents accidentally dropping the battery on the ground, or worse. On the other end, a new rectangular metal door hides the SD card slot. The door requires a slide towards the back to open. Both the openings are fully weather sealed.

 

Final Thoughts and Ordering

The Leica Q2 offers some incredible improvements over the already capable Leica Q (Typ 116). The jump to 47MP now makes the Q2 the highest resolution Leica digital camera, at least until the S3 comes out in a few months. And this certainly opens the question about where the SL and M systems are headed in the future. Will we see the same sensor make its way into other Leica cameras, like what happened with the first Q and SL? Only time will tell, but for now, the Q2 at $4,995 represents an incredible value. Throw in weather sealing, the gorgeous OLED viewfinder, higher-capacity battery, much improved handling, as well as faster everything, and the revised Leica Q2 promises to be just as big a hit as the original. 

 

 

Deliveries have already started in very limited quantities. If you are interested in placing an order for the Leica Q2, you can do so at Leica Store Miami, by calling them at 305-921-4433, sending an email, or by clicking the link below.

Purchase the Leica Q2

Press Release

Leica Q2: Every great story deserves a sequel

Leica Camera is pleased to announce the introduction of its latest camera, and the new evolution of one of its most popular recent releases, the Leica Q2. The Leica Q2 features a brand new 47.3 megapixel full

frame sensor, integrated weather sealing throughout the body and built-in Summilux 28 mm f/1.7 lens, a

brand new electronic viewfinder, lightning-fast autofocus and burst shooting, 4K video, a revised button

layout and refined design.

Main Features and Benefits:

• Newly developed 47.3 MP full frame sensor for best-in-class image quality
• Built-in crop modes are now improved to 30 MP at 35 mm, 15 MP at 50 mm, and 7 MP at a new 75 mm
• Fully weather-sealed to brave the elements and always get the shot while maintaining a compact body
• New 3.68 MP OLED EVF for an improved view of the scene with better color and clarity
• Fixed Summilux 28 mm f/1.7 ASPH. lens for tack-sharp images and impeccable low-light quality
• New processor from the Maestro II family ensuring peak performance at these new heights of resolution
• Fast autofocus and 10 fps burst shooting to never miss a crucial moment
• 4K video with UHD and Cine4K resolutions for easy on-the-go high quality recording
• Refined control elements inspired by design languages established with the Leica M10 and CL
• Made in Germany for the most premium quality materials and craftsmanship
• Bluetooth LE (Low Energy) for easier pairing with Leica FOTOS and a continuous connection
• The perfect everyday-carry lightweight travel companion with image quality capable of pro-level output

New Sensor With 95% More Resolution Than Its Predecessor

The Leica Q2’s newly developed 47.3 megapixel full frame sensor boasts the highest resolution in its class. Matched with the high resolving power of its built-in Summilux lens, the Leica Q2 goes beyond the conventional use-cases of a 28 mm focal length via its built-in crop functions for equivalent focal lengths of 35 mm, 50 mm, and the newly available 75 mm – bringing with it more possibilities in the world of portraiture and close-up work. This new sensor maintains a 30 MP image when cropped to a 35 mm equivalent frame, even more than the original Leica Q’s maximum of 24 MP at 28 mm. When shooting cropped DNG files the full sensor image is still recorded, allowing the user to undo or change the crop during postprocessing. These newfound heights of resolution and flexibility, combined with high ISO performance and a fast aperture make the Leica Q2 the perfect companion for all areas of street, architectural, landscape, travel, documentary, reportage and even portrait photography.

Weather Sealing and Improved Battery Life

The Leica Q2’s IP52-certified weather sealing protects the camera from dust, rain and water spray and ensures users can photograph under challenging environmental conditions. The adoption of the BPSCL4 battery from the Leica SL boosts battery life by 30% over the original Leica Q, and its built-in rubber gasket further helps seal the Q2. This level of weather-sealing is usually reserved for pro-level cameras such as the Leica SL and Leica S, putting the Q2 at that similar level of resilience, and is especially helpful under challenging environmental conditions.

New OLED High-Resolution EVF

The Leica Q2 features a newly developed high-resolution OLED viewfinder, which offers a lag-free high refresh rate and faster auto-switching between the rear display and EVF. The high resolution of 3.68 megapixels in the viewfinder provides the clearest vision of the user’s composition to perfectly and accurately frame subjects. OLED panels, known today for being utilized in the highest quality smartphone and TV screens on the market, are superior to LCDs as they control each pixel’s brightness independently – this yields a better color depth and quality for a more pleasing experience every time the camera is raised to the user’s eye.

Speed Speed Speed + 4K Video

The autofocus system of the Leica Q2 focuses sharply on the subject within milliseconds, making it one of the fastest cameras in its class. Improvements to its new processor from the Maestro II family have enabled a high continuous burst shooting rate with an impressive 10 frames per second from the mechanical shutter, even at maximum resolution. The Leica Q2 adds 4K UHD and Cine4K video recording to its arsenal of features, with frame rate options across 4K and 1080p.

In combination with the Leica FOTOS App, the camera’s integrated Wi-Fi module makes it possible to quickly and easily share pictures and video via social media, and thanks to Bluetooth LE (Low Energy) a permanent connection can be established between camera and smartphone. Now users can even remotely wake the camera and connect any time when in range. (Leica FOTOS v1.2 with Q2 compatibility scheduled to launch April 3)

Refined Design and Improved Handling

The design of the Leica Q carries forward the Leica tradition of reduction to the essentials. The ‘Made in Germany’ seal of quality guarantees that only the finest and most resilient materials are employed in its construction. The distinctive thumb rest of the new Leica Q2 and the sophisticated diamond pattern of its leather trim ensure optimum grip and highlight the symbiosis of function and form. Also new is the camera’s uniquely intuitive handling concept, following refined design language cues established from its brethren in the Leica M10 and Leica CL families – such as the single-stage On/Off switch, simplified three-button interface on the rear of the camera and programmable button within the thumb wheel dial. A new highlight of the Leica Q2 layout is the push-button diopter compensation dial on the back of the camera that locks and prevents inadvertent changes to the user’s desired setting. Every refinement, both large and small, pushes Leica’s design forward without losing sight of the core philosophy of the camera.

New Accessories

A comprehensive range of optional accessories is also available for the Leica Q2. These include matching camera protector cases and carrying straps in premium-quality classic black and brown leather, and more vibrant versions in red and pink. The elegant new ‘Ettas’ line of soft, coated canvas pouches for various Leica camera models will also be launched at the same time as the Leica Q2. The pouches will initially be available in midnight blue, stone gray and red colorways, with more still to come. The accessory selection also includes technical equipment for the Leica Q2 such as the Leica SF 40, SF 60 flash units, the SF C1 remote flash control unit and an additional add-on thumb rest and handgrip. All accessories are functionally designed for easy handling, perfectly matching the quality and design of the camera and are manufactured from only the finest materials to ensure reliability for a lifetime of use.

For complete information and tech specs go here:

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HAS PHOTOSHOP IMPROVED PHOTOGRAPHY

By Heinz Richter

Photoshop was created 32 years ago in 1988.  Since then Photoshop and its many derivatives have become an essential part of photography with a great level of importance.  Its ability to enhance photographs and to manipulate the image is well known.  Photoshop certainly is much more than just an electronic retouching tool.

Unfortunately it is also misused by many.  The relative ease of manipulating a photograph has led many to mistakenly believe that it is also a tool to correct mistakes that were made when taking the picture.  As a matter of fact it has led to unqualified picture takers to market themselves as professional photographers, especially when combined with modern automatic everything cameras. 

While Photoshop is certainly capable of manipulating photographs to quite an extend, it is still an absolute necessity to have basic photographic skills.  Composition and design are as important today as they were in the past, as are lighting and posing.  Today's automated camera controls can in no way make up for those skills and neither can Photoshop.

The following are good examples of how things can go wrong.  This was a case of an all-controlling father of the bride who considered himself a professional wedding photographer and who insisted on not only arranging the group, but he also insisted on the photograph being taken at this particular location.  The fact that a wedding party photographed with a background of a cemetery is less than ideal obviously eluded him. Photoshop saved the day when I was asked to move the wedding party to a much more appropriate background.  In addition I changed the contrast in the image of the wedding party to lessen the harsh shadows caused by the direct sunlight. Of course all of this could have been avoided by better photographic skills on part of the father in the first place.

A while ago I got into a discussion with a colleague about digital photography and Photoshop on the internet.  He still prefers to use film and argued that all pictures should be shown “the way the camera saw them, the way they come out of the camera” and he went on to say that Photoshop should not be used.

I definitely disagree with that and answered:

“Why?  Digital photography and Photoshop have considerably lowered my overhead (no film to buy, no processing costs) and I have full control over the final looks of my images instead of having to rely on some lab’s idea about what my images should look like.  Film is a thing of the past.  Just because Photoshop is available doesn't mean that the photographer doesn’t need the same skills as in the film days.  Composition, lighting etc. are still as important as ever.  Shooting digital is essentially nothing more than using a different means to record the image.  The addition of Photoshop has enabled us to control the final outcome of our photographs to a greater degree than ever before which, when used correctly, will ultimately deliver the best quality images possible.”

He answered:

“However, when you change that image to some other image, then it is a second image.  I know what you are saying above but I also know that you change some of your images to make them into something else.....and so do others.  I just happen to think that the original image is what the end result should be.”

I answered:

“I understand what you are saying.  However, just because Photoshop has the ability to substantially alter an original image doesn’t mean that its use will always lead to that.  Photoshop offers the ability to ‘tweak’ our photographs to ultimately end up with better results.  We have the ability to alter contrast and color saturation, both of which are much easier to do with Photoshop than during the film days.  In the past photographers routinely retouched their photographs to reduce blemishes, for instance.  Photographers used changes in exposure and development to reduce or increase contrast.  Are these accepted methods really any different than using Photoshop to obtain the same results?  Isn’t either approach effectively altering the image from what the camera saw?  Then, of course, there is the question of what the ultimate purpose of taking a photograph is.  Isn’t the final image, as envisioned by the photographer, what counts?  In the past we used methods like solarization, for instance.  That certainly is a considerable departure from what the initial photograph looked like, the same goes for posterization or bas relief images, all of which were routinely used to create photographic art beyond the original image as it came out of the camera.  If those methods were okay in the past, then why isn’t the use of Photoshop acceptable as a means to create pieces of art derived from otherwise ordinary photographs?  Even simple cropping is altering an image beyond what originally came out of the camera.  Since none of us is perfect, we naturally get often useless photographs because of a variety of reasons.  In many cases Photoshop has enabled me to save such photographs with the help of Photoshop.  I see that as a benefit”.

I have come across similar opinions fairly often and I wonder if it is really a conviction or if it is more a resistance to change, combined with an underlying fear of learning a new method of working with our photographs.

To which extend Photoshop or similar programs are going to be used is ultimately a personal preference.  However, it is a tool that should not be rejected off hand.  If we are honest about our own work, most of us probably reject or throw away more of our photographs than we save and with digital photography that ratio has most likely increased.  But with Photoshop we also have the possibility to save an otherwise useless picture and make it into something worth keeping.

    

This is a snapshot my wife took at a wedding.  The original was nothing special and it was almost deleted.  However, after taking a closer look, she asked me to apply my Photoshop skills.  I tightly cropped the group to remove as much as possible of the clutter in the room which was further eliminated with various Photoshop tools.  I then modified the image to give it a painting like appearance.  The final result certainly is not at all what came out of the camera, but it is a photograph worth keeping.  As it turned out, it is one of the favorites of the bride. 

 

 

This photograph was taken by my father in Hamburg in 1949.  He enhanced the sunrays in the background by carefully applying graphite dust to the rays on the negative to lighten them in the final enlargement and thus make them stand out more.

Two photographs, both manipulated to allow for a better end-result; photographs that would have less impact, which would be visually less pleasing had they not been enhanced.  There should be no question that Photoshop or conventional retouching are means that enable us to make our photographs better than what our cameras are capable of doing by themselves.  I consider that something very worthwhile.

One of the all-time great photographers, Ansel Adams, developed the famous Zone System, a means to arrive at the best possible results.  It incorporated previsualizing the final outcome of the photograph and then applying careful light reading techniques, combined with special developing of the film and skillful printing and enlarging of the negatives.  That certainly is a far cry from just accepting what the camera is capable of doing.

This photograph of his, "Moonrise over Hernandez" required considerable modification.  He came across this scene while driving home.  The light was changing rapidly and Ansel Adams had only a very short time to pull it off.  He quickly set up his camera.  His light meter was not handy so he guessed at the exposure based on experience.  Only careful developing of the film and considerable manipulation during printing resulted in this image.  Adams said himself that the image, as it came out of the camera wouldn't have been very useful at all.  According to Ansel Adams, the negative is just the score, the final enlargement is the performance.

Often even simple cropping can result in a greatly improved photograph. I didn't like this photograph at all because of the hat protruding into the image area.  Just slight cropping resulted in a noticeable improvement.  All I did was eliminate part of the bottom of the photograph.  Not only did it reduce the impact of the hat, it also resulted in a more panorama like view, still showing a typical Venice scene.

Once I took a closer look, I saw the possibility of additional images, some that at first glance totally eluded me.  Further cropping resulted in a much less touristy photo, still showing a Venice scene, but with definite emphasis on the people in the foreground.  

One more crop resulted in the final image of just the couple.  Three different photographs out of one and the same shot, and all better than what initially came out of the camera.

Photographers have manipulated the basic images as they come out of the camera for years via a multitude of methods.  These ultimately allowed them to arrive as close as possible as they imagined the final image to be like.  Some of these methods were very difficult and time consuming.  Modern image manipulating software like Photoshop has made this substantially easier and therefore should be embraced.

This can certainly go far beyond simple manipulation.  It also offers methods to arrive at a final image that would be virtually impossible to do with just the camera alone.  We now have the possibility to create images, photographs, only limited by imagination and skill.  What comes out of the camera is just the beginning. Allow your imagination to be the guide to the final images you produce. 

The relative ease of using Photoshop has allowed me to develop a new photographic venue where I use a photograph of a sculpture and combine that with a suitable photograph of a model, which I call Photosculpture.  Of course this could be done via conventional methods, but the time involved makes it almost useless.  Even with Photoshop I often spent considerable amounts of time to arrive at the final image. The following images are certainly far removed from what came out of my camera initially.

 

 

 

 

  

Please note: The cover photo was stitched together from two individual photographs, easily done in Photoshop

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