Leica Q3

      Photo Review 8.7

      In summary

      The Q3 continues Leica’s incremental improvements and is a capable, IP52-rated weather-sealed, fixed-lens, full-frame camera that delivers high performance in a compact body.

      Full review

      Announced on 25 May, 2023, the Q3 is the third model in Leica Camera’s series of rangefinder-style, fixed-lens, full-frame cameras and boasts the highest resolution to date. The use of a new 60-megapixel BSI-CMOS sensor with Triple Resolution Technology supports 60-, 36- or 18-megapixel image sizes. The Q3 can also record 8K/30p video in UHD and DCI ratios and includes Apple ProRes 422HQ support for 1080p video at up to 60p. Autofocusing has also been improved through the addition of phase detection to the depth-mapped contrast AF technology.

      Angled view of the Leica Q3 without its hood. (Source: Leica Camera.)

      The BSI CMOS sensor is the same as used in the Leica M11 but it’s combined with the Maestro IV processor used in the SL3, which supports the high data transfer speeds required for recording 8K video. The Leica Summilux 28 mm f/1.7 ASPH. lens is unchanged from the Q2 but the new sensor and processor enable the camera to support an extended digital zoom range of 90 mm in addition to the Q2’s focal lengths of 28mm, 35mm, 50mm and 75mm.

      As before, the ‘digital zoom’ crops are only applied to JPEG images and you are required to use framing guide lines in the EVF or on the monitor screen to show you each crop when you’re framing shots. In playback mode, the cropped image fills the screen.

      The illustration above shows the views displayed in the EVF and monitor with the framing guides superimposed in the shooting mode, alongside the cropped view displayed in playback. (Sourced from the Q3’s instruction manual.)

      Most settings, including the touch controls, are unchanged from the previous model – but the user manual makes it easier to see how touch is used by devoting a page to outlining the record and playback functions. Two shooting assistants, Leica Perspective Control (LPC) and Leica Dynamic Range (LDR) have been added to minimise the need for additional processing of JPEG images.

      Side view of the Leica Q3, showing the pull-out-and-tilt monitor screen. (Source: Leica Camera.)

      The Q3 is also the first in the series with a pull-out-and-tilt monitor screen (shown above) that can be rotated to face upwards for waist-level shooting and the monitor resolution has increased. Its new 5,760,000-dot OLED EVF is also the highest resolution for the series to date. The table below compares the three models in the Leica Q range, showing the incremental improvements made with each new release.

      Leica Q Leica Q2 Leica Q3
      Sensor type CMOS BSI-CMOS
      Effective resolution 24.2 megapixels 47.3 megapixels 60 megapixels
      Processor Maestro II Maestro IV
      Lens Leica Summilux 28 mm f/1.7 ASPH.
      Optical design 11 elements in 9 groups, incl. 3 aspherical elements
      Digital zoom crops 35 mm, 50 mm 35 mm, 50 mm, 75 mm 35 mm, 50 mm, 75 mm, 90mm
      Stabilisation Yes, optical
      AF system Contrast detection with face detection & touch focus Hybrid Phase/contrast detection with face detection & touch focus
      Focus points/areas/zones 49 AF points 225 focus areas, 49 focus zones 315 AF points
      AF range / Macro limit 30 cm to infinity / 17 cm
      EVF 3.68MP LCOS display 3.68MP OLED display 5.76MP OLED display
      Monitor 3-inch LCD, 1,040,000 dots, touch-screen controls Tilting, 3-inch LCD, 1,843,200 dots, touch-screen controls
      Shutter Mechanical – 30 to 1/2000 second; electronic – 1⁄2500 to 1⁄16000 second Mechanical – 60 to 1/2000 second; electronic – 1 to 1/40,000 second Mechanical – 120 to 1/2000 second; electronic – 1 to 1/16,000 second
      Max. continuous shooting speed / Buffer capacity 10 fps for up to 13 DNG+JPEG pairs 20 fps for up to 25 JPEGs or 14 DNG.RAW files 15 fps, 8GB buffer memory; approx. 61 L-DNG+L-JPEG pairs
      Flash Hot-shoe for Leica SF 60 system flash units
      Movie button Yes No
      Video format MP4/AAC stereo audio MPEG-4, H.264, H.265
      Movie resolution 1920 x 1080  at 60p/30p, 1280 x 720 at 30p C4K (4096 x 2160) at 24p, 4K (3840 x 2160) at 30p/24p, 1920 x 1080 at 24 fps, 30 fps, 60 fps, 120 fps C8K/8K at 30p/25/24p, C4K/4K at 60/50/30/24p, 1080p at 120/100/60/50/30/24p
      Native ISO  range 100-50,000 50-50,000 50-100000
      Storage media One SD/SDHC slot (UHS-I) One SD/SDHC/SDXC slot (UHS-II)
      Interface ports None USB-C (480 Mbit/sec.), microHDMI
      Connectivity Wi-Fi (802.11b/g/n), Wi-Fi plus Bluetooth Low Energy
      Battery / capacity BP-DC12 /  approx. 300 shots/charge  BP-SCL4 / approx. 350 shots/charge BP-SCL6 / approx. 350 shots/charge
      Battery charging Via separate charger (supplied) Charger supplied, USB  and Qi wireless charging supported
      Dimensions (wxhxd) 130 x 80 x 93 mm
      Weather resistance No IP52 rated
      Weight with battery 640 grams 734 grams 743 grams
      RRP AU$5900 AU$7,990 AU$10,290

      The Q3 also features a significant improvement to its autofocusing system, with the integration of phase detection to the existing depth-mapped contrast autofocus, which should result in faster and more accurate autofocusing. The number of focus detection points has also been increased from 225 in the Q2 to 315 for greater precision, but the system lacks the subject matching modes provided in the latest mirrorless cameras and its subject detection options are also limited.

      Users can choose from spot, field, multi-field and zone AF selection and the camera supports subject detection and tracking for humans and animals, with a tendency to prioritise subjects closer to the camera. Eye detection is a new introduction for humans and animals and users can choose which eye to focus on. If there’s no person or animal in the frame, the focusing mode will switch to field autofocus.

      When the ‘Intelligent AF’ mode is set, the camera automatically swaps between AFs and AFc, depending on the scene/subject detected. As in the Q2, the focusing mode is selected with a ring on the lens; you have to press and hold the AF/MF lock release button on the large thumb knob on the ring to change between AF and MF. It’s a rather clumsy arrangement.

      The Drive mode menu has been improved to state the precise frame rates (2/4/7/9/15 frames per second), instead of Low/Medium/High/Very High as in the previous models. Continuous 14-bit raw recording is only supported at up to 7 fps – and that also applies to RAW+JPEG pairs.

      Leica has added a USB-C connector with USB 3.1 Gen 2 transfer speeds of up to 10 Gigabits/second plus a microHDMI port to the new camera. The USB port supports on-the-go battery charging, while the microHDMI port allows the camera to be connected to an external recorder, which supports C8K 4:2:0 10-bit video recording with Hybrid Log Gamma and L-Log adjustments.

      Otherwise, the playback and software options are unchanged. Users can download the complete instruction manual by scanning a QR code in the multi-lingual Quick Start Guide or get the Leica FOTOS app by scanning a QR code on page 29 of the instruction manual.

      Who’s it For?
      Like its predecessors, the Q3 is essentially a closed system with no options to extend the lens beyond what the camera offers – which is a pity since it could have really benefited from swapping the fixed 28mm lens for a more versatile zoom lens. Aside from that, the camera has very few valid competitors in the current market – despite its eye-watering price tag.

      Sony hasn’t released a ‘serious’ compact camera since the DSC-RX100 VII, which was announced in late July, 2019. In addition, all of Sony’s fixed-lens compact cameras released in the past five years have been built around Type 1 (13.2 x 8.8 mm) sensors, which puts them out of contention for ‘serious’ photographers.

      The nearest competitor is the Fujifilm X100VI, which was announced in February 2024 and has been popular with many consumers. It has a 40-megapixel BSI-CMOS APS-C sensor and is also limited by its fixed focal length lens. With a local RRP of AU$2899, it’s a bit smaller and about 70% of the weight of the Q3 but its video tops out at 6K/30p and, while specified as ‘weather-sealed’,  no rating is given, which means it’s probably the basic IPX1.

      Ricoh’s GR III/GR IIIx pair are even smaller and lighter and also have APS-C sized sensors, in both cases with 24.2-megapixel resolution – but also fixed focal length lenses. The GR III has an 18.3mm lens (28mm equivalent) that makes it more suitable for landscapes, while the GR IIIx has a 28mm lens (40mm equivalent) and telephoto adapter, making it better for portraits and street photography.

      The GR III was launched in September 2018, which the GR IIIx arrived three years later.  With average street prices of less than AU$1400 and AU$1600, respectively, both cameras are significantly cheaper than Fujifilm’s X100VI. Both models were updated in March 2024 with the addition of highlight diffusion filters. But their versatility is limited.

      Panasonic announced a new, interchangeable-lens L-mount camera on 23 May 2024, featuring a 24-megapixel full frame sensor and integrated stabilisation, along with a new 18-40mm zoom lens. However, it lacks a viewfinder, which puts it out of consideration for serious photographers.

      Leica’s recently announced D-Lux 8 has a 17-megapixel (effective) M4/3 sensor plus a 24-75mm zoom lens, which will make it more interesting to weight-conscious travellers. It’s based on a six year old Panasonic model which, rumours say, might be updated this year.

      All the models in the Leica Q series have been good for street and reportage photography but in each case the fixed 28mm lens has restricted photographers’ capabilities because zooming-by-cropping reduces image resolution. In the case of the Q3, the 90mm digital zoom crop reduces the image resolution from 60.3 megapixels at the full frame size to a maximum cropped size of 5.8 megapixels.

      On the basis of our experience with using the camera, we think this is a step too far. Details can be found in the Sensor and Image Processing section below.

      The incremental price increase will put this camera even further out of the reach of most camera buyers, which is a pity since it’s nice to use and can deliver good results – within its limits. But it would have been much more attractive with a 24-105mm zoom lens.

      Build and Ergonomics
      Like its predecessors, the Q3 is made in Germany and sports a weather-resistant, full metal housing made from die-cast magnesium, covered with a lightly-textured leather cladding. The front panel of the camera is flat without a grip moulding, although its textured leather surface and the generous thumb rest on the rear panel provide a decent grip.

      Front view of the Leica Q3 showing the lens without its hood and the flat front panel. (Source: Leica Camera.)

      A thumb support can be slotted into the hot shoe of the Q3 for improved ergonomics for an investment of AU$449 to $479, depending on whether it’s aluminium or brass. A new combined accessory grip and wireless charging pad is available for AU$399 or you can purchase the Drop XL wireless charging pad alone for AU$320.

      The rear panel of the Leica Q3. (Source: Leica Camera.)

      Some relatively minor changes have been made to the control layout, the most significant being on the rear panel to allow for the adjustable monitor.  The three main controls have been moved to the right of the monitor on the rear panel and the Fn (function) button has been replaced with the arrow pad. An additional unlabelled Fn button was added to the line-up above the monitor screen.

      Top view of the Leica Q3 showing the main physical controls. (Source: Leica Camera.)

      The thumbwheel on the right hand edge of the top panel has a central lock/unlock button and can be used to set various functions, depending on the active exposure mode. Holding down the button opens a menu for selecting what can be adjusted. We found the wheel to be very tight and difficult to turn.

      The base plate of the Leica Q3. (Source: Leica Camera.)

      The base plate layout is largely unchanged, although the battery has been swapped to a higher-capacity BP-SCL6 unit. Interestingly, despite this, the CIPA rating for this battery remains at approximately 350 shots/charge.

      Sensor and Image Processing

      The swap to a higher-resolution BSI-CMOS sensor is one of the reasons for the substantial price difference between the Q3 and its predecessor. The new chip is probably the same as used in the M11, with a total of 62.39 million photosites, it delivers a maximum resolution of 60.3 megapixels, enabling Leica to add a fourth ‘digital zoom’ crop to the options available.

      Three different resolutions can be set for storing DNG.RAW files: L-DNG (60MP), M-DNG (36MP) and S-DNG (18MP). The same options are available for JPEGs but the actual resolutions saved will vary further, depending on the digital zoom setting selected.  The table below matches JPEG resolution to the effective focal length at the default 3:2 aspect ratio.

      Digital zoom JPEG resolution (pixels)
      Off (28mm) 9520 x 6336 7392 x 4928 5280 x 3504
      35mm 7616 x 5072 5920 x 3952 4224 x 2816
      50mm 5328 x 3552 4114 x 2768 2960 x 1968
      75mm 3552 x 2368 2752 x1840 1968 x 1312
      90mm 2960 x 1968 2304 x 1536 1648 x 1104

      The default setting for both DNG and JPEG files is Large (L). As with previous models, DNG.RAW frames are not cropped, giving you the option to over-ride the cropping or re-frame the crop when the DNG.RAW files are converted into editable TIFFs.

      No interpolation is applied to cropped JPEGs, which means the files taken with the S-JPG setting using the 75mm and 90mm crops are very small (between 1.8 and 5.8 megapixels). It would only be worth using these settings when you need images for quick online sharing as the Small JPEGs won’t make worthwhile prints.

      The updated Maestro IV image processor enables the camera to extend its sensitivity range to an upper limit of ISO 100,000 while retaining the lowest setting of ISO 50, introduced in the Q2. Continuous shooting is limited to a maximum of 15 fps with the electronic shutter. however, because of the larger file sizes. Estimates state the 8GB buffer memory can accommodate about 61 L-DNG + L-JPG pairs at a frame rate of 7 fps (the maximum possible for raw files). Continuous shooting with flash is not supported.

      Video mode is selected by touching the icon on the Quick menu page, which immediately crops the frame to a 16:9 ratio, and displays a red dot in the top right corner of the frame when you start recording footage. Recording is initiated and ended by pressing the shutter button.

      You’ll need a V90 rated card if you want to record 8K video, as the camera won’t let you access those settings when a lower-rated card is in the media slot, even if it has a top speed rating of 300MB/second. With write speeds below 280 MB/s video clips are limited to two minutes.

      Video can be recorded in the MOV or MP4 file formats, but 17:9 ‘cinema’ formats can only be recorded in the MOV format and 8K recordings have a top frame rate of 25 fps (PAL systems). In addition, the Q3 can only record 4K movies with L-Log at 10-bit colour depth using All-I compression. The table below shows the file formats, resolutions and frame rates available for PAL systems users.

      File format Available resolutions Pixels PAL frame rates
      MOV C8K 8192 x 4320 25 fps
      MOV &MP4 8K 7680 x 4320
      MOV C4K 4096 x 2160 25 fps, 50 fps
      MOV &MP4 4K 3840 x 2160
      MOV &MP4 FHD 1920 x 1080 25 fps, 50 fps, 100 fps

      Users can choose from five pre-configured profiles in the Video Style sub-menu: Standard, Vivid and Natural colour profiles plus Monochrome and Monochrome High Contrast. The contrast, sharpness, saturation, highlight and shadow settings can be further adjusted across a range of +/-2 levels to customise each profile.

      Further adjustments can be made to HLG (Hybrid Log-Gamma) settings via the Video Gamma tab in the menu and various LUT (look-up table) profiles can be applied to previews when using the L-Log function. Custom LUT profiles can also be imported and users can download a selection of professional produced ‘Leica Looks’ profiles that can be installed in the camera and stored in one of six available memory slots.

      Increasing the sensor proved an even greater challenge for our tests, which showed that the camera plus lens fell a little short of expectations for the sensor’s resolution for JPEGs but exceeded expectations for DNG-RAW files with no frame cropping.  As a departure from our normal practice, we conducted separate lens tests at each of the four frame crops. The results were much as expected for each reduction in resolution, as shown in the graphs below.

      This combination of graphs shows the results of the Imatest tests we conducted at each of the ‘digital zoom’ crops. Note the differences in the maxima of the vertical scales, outlined in red.

      These five graphs show the best performance occurred with wider apertures but also revealed some softening towards the edges of the frame at wider apertures, which is to be expected.  Also expected was the flattening out of the graphs in the 90mm frame crop, which uses the centre of the frame.

      Resolution remained relatively high throughout most of the review camera’s sensitivity range. The high contrast in the ISO 50 files was largely responsible for its lower resolution, while from a maximum at ISO 100, we recorded a gradual decline for the rest of the sensitivity range. Raw files maintained their advantage over JPEGs throughout, as shown in the graph of our test results for the 28mm focal length, shown above

      Long exposures taken at night showed little noise right up to ISO 12500, which is a stop better than the Q2. Beyond that point, noise gradually became more noticeable to the point where we wouldn’t recommend using the two highest ISO settings for anything other than small prints.

      Lateral chromatic aberration remained within negligible levels in the DNG.RAW files we tested, as shown in the graph above, where the red line marks the boundary between negligible and low CA. No coloured fringing was observed in any of the DNG.RAW images we recorded.

      Unlike most modern cameras, the auto white balance tab in the Q3 doesn’t include an option to choose between ambience and white priority settings. We found the auto setting failed to compensate for the warm casts of both incandescent and warm-toned LED lighting but produced neutral colours under fluorescent light.  The latter is handy since there’s no pre-set for fluorescent lighting.

      Nor is there a pre-set for LED lighting but the tungsten pre-set came close to correcting the warm casts of both LED and incandescent lights, making subsequent adjustments easy. Manual measurements delivered neutral colours under both LED and tungsten lighting.  As with the Q2 no in-camera adjustments are provided for adjusting colour balance on-the-fly, but the white balance sub-menu includes the same colour temperature settings, which are selectable between 2000K and 11,500K.

      Because the camera automatically applies optical corrections to JPEG files and embeds them in the metadata of raw files, we had to use an application that enabled us to disable all corrections to find out the extent to which the Q3’s lens was affected. We found traces of vignetting in the corners of DNG.RAW files captured with the uncropped 28mm focal length as well as obvious barrel distortion. Both were effectively corrected in the camera and Adobe Camera Raw.

      Autofocusing was mostly fast and accurate when shooting stills, even in the multi-field mode, where we tested the camera’s ability to lock onto human subjects. The camera tended to prioritise nearby people but it was easy to switch to more distant people by using the arrow pad buttons. No significant slowing was evident in low light levels or while panning.

      Metering was accurate as long as the appropriate pattern was used for the subject. When correctly matched, all three patterns delivered well-balanced highlight and shadow detail, even in quite contrasty situations.

      Backlit subjects were generally well handled and shadows only blocked up in very contrasty conditions. Even then, detail could be restored without intrusive noise when DNG.RAW files were processed in Adobe software. There’s also an HDR (high dynamic range) setting among the Scene Mode presets which combines three frames taken at different exposure levels to compensate for contrasty lighting.

      Video quality was mostly very good and exposure levels were usually quick to re-adjust when light levels changed during a recording. The AF system wasn’t as responsive as it was with stills, although in bright lighting, it could identify and track human subjects as long as they weren’t moving quickly. We found occasional hunting for focus, along with some delays while the lens refocused as subjects moved into or out of the frame.

      Soundtracks were generally clear with acceptable quality, considering the sizes and separations of the tiny in-camera microphones. Thanks to near-silent operation, recorded clips showed no apparent interference from focusing or wind noise.

      Our timing tests were carried out with a 64GB SanDisk Extreme PRO SDXC U3 V90 UHS-II card which claims a read speed of 300MB/second and write speed of 260MB/s. The review camera took just over one second to power up and only 0.2 seconds to focus close-up from the infinity setting.

      Capture lag was effectively negligible when shots were pre-focused.  Shot-to-shot times averaged 0.6 seconds. On average, high-resolution JPEGs took approximately 0.15 seconds to process, while RAW+JPEG pairs were processed in 1.8 seconds.

      Using the 15 fps continuous shooting mode we were able to record at 66 JPEG frames in 4.9 seconds before recording paused. Processing this burst of shots took just over 30 seconds.

      With Large DNG+JPEG files at the 7 fps frame rate, recording ceased after 64 frames, which were captured in 6.9 seconds. Processing this burst took roughly one and a half minutes.


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      Image sensor: 36  x 24 mm CMOS sensor with  62.39 million photosites (60.3 megapixels effective); RGB colour filter, UV/IR filter, no low-pass filter
      Image processor: Leica Maestro IV
      A/D processing:  16-bit
      Lens:  Leica Summilux 28 f/1.7 ASPH., 11 lenses in 9 segments, 3 aspherical lens surfaces;  f/1.7-f/16 in 1/3EV increments; 49 mm filters
      Digital zoom: Optionally approx. 1.25x (equivalent to 35 mm), approx. 1.8x (equivalent to 50 mm), approx. 2.7x (equivalent to 75 mm), or approx. 3.2x (equivalent to 90 mm)
      Image formats: Stills – DNG (raw data), DNG + JPG, JPG (DCF 2.0, Exif 2.31); Movies – MP4, H.264/H.265 with AAC / 48 kHz (16 Bit) audio; Video: max. length: 29 min
      Image Sizes: Stills – 9520 x 6336 (60.3 MP), 7404 x 4928 (36.5 MP), 5288 x 3518 (18.,6 MP) ; Movies – C8K (17:9) 8192 x 4320, 8K (16:9) 7680 x 4320, C4K (17:9) 4096 x 2160, 4K (16:9) 3840 x 2160, Full HD (16:9) 1920 x 1080; Max. 30 fps for 8K, 50 fps for 4K, 100 fps for FHD
      Shutter / speed range
      : Electronic shutter: 1 s to 1/16000 s, Mechanical shutter: 120 s to 1/2000 s; Flash synch at up to 1/2000 s
      Self-timer: 2 or 12 seconds delay
      Image Stabilisation: Visual compensation system for photos and video recordings
      Exposure Compensation: +/-3EV (in 1/3 EV steps)
      Bracketing:  3 or 5 frames up to 3 EV, in 1/3 EV increments; additional optional exposure compensation: up to +/-3 EV
      Focus system/range
      : Hybrid-AF combining contrast metering, depth mapping, and phase comparison metering with 315 AF metering points in the sensor; 30 cm to infinity plus macro setting to 17 cm
      Focus modes:  Spot (can be shifted), Field (can be shifted and scaled), Multi-Field, Zone (can be shifted), Eye/Face/Body Detection, Eye/Face/Body + Animal Detection, Tracking
      Exposure metering/control:  TTL (exposure metering through the lens) with working aperture; Spot, Centre-Weighted, Highlight-Weighted, Multi-Field modes
      Shooting modes: Auto, Program Auto, Manual, Shutter Priority, Aperture Priority, Scene (Sport, Portrait, Landscape, Night Portrait, Snow/Beach, Fireworks, Candlelight, Sunset, Digiscoping)
      ISO range: Stills & Video: Auto – ISO100-100,000 (Manual – ISO 50-100,000)
      White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (x3), Daylight, Flash, Colour Temperature, Filter, Custom; WB adjustments: G7 to M7 (57 steps), A7 to B7 (29 steps)
      Flash exposure compensation: With Leica SF40 – +/-2 EV in 1/2 EV increments; SF60 – +/-2 EV in 1/3 EV increments
      Sequence shooting: Max. 15 frames/second at 12-bit depth, 7 fps at 14-bit
      Buffer memory depth: 8GB
      Storage Media: Single SD/SDHC/SDXC card slot, UHS-I & UHS-II (recommended) compliant
      Viewfinder:  EVF with 5,760,000 dots, 120 fps, magnification: 0.79x at aspect ratio: 4:3 / 0.76x at aspect ratio: 3:2, frame coverage: 100%, exit pupil position: 20.75 mm, setting range -4/+2 dpt; eye sensor
      LCD monitor
      : 3-inch TFT LCD, approx. 1,843,200 dots, 384 ppi, aspect ratio 3:2, touch panel
      Weather sealing:  IP52 rated weather-resistant sealing
      Interface terminals: ISO accessory shoe with additional control contacts for Leica flash units, HDMI jack Type D, USB 3.1 Gen 2 Type C up to 10 Gbps
      Communications: IEEE801.11b/g/n 2.4 GHz; WLAN function for connecting to the Leica FOTOS app; Bluetooth 5.0 LE
      Power supply: Leica BP-SCL6 Lithium-ion rechargeable battery, CIPA rated for 350 shots/charge; USB charging supported; Wireless charging with 10 W Charging Pad
      Dimensions (wxhxd): 130.0 x 80.3 x 92.6  mm
      Weight: 743 grams (without battery and memory card)
      Distributor: Leica Camera Australia



      Based on JPEG files.

      Based on DNG.RAW files converted into 16-bit TIFFs with Adobe Camera Raw.



      Vignetting at f/1.7.

      Rectilinear distortion.

      Auto white balance with incandescent lighting.

      Auto white balance with fluorescent lighting.

      Auto white balance with warm-toned LED lighting.

      48-second exposure, ISO 50; 28mm focal length at f/1.7.

      36-second exposure, ISO 100; 28mm focal length at f/1.8.

      10-second exposure, ISO 1600; 28mm focal length at f/4.

      2-second exposure, ISO6400; 28mm focal length at f/4.

      1/2-second exposure, ISO 25000; 28mm focal length at f/5.6.

      1/2-second exposure, ISO 50000; 28mm focal length at f/8.

      1/2-second exposure, ISO 100000; 28mm focal length at f/11.

      Close-up at 28mm focal length, ISO 100, 1/320 second at f/1.7.

      Bokeh at 28mm focal length with bright highlights in the background , ISO 100, 1/320 second at f/1.7.

      28mm focal length, ISO 640, 1/50 second at f/9.

      28mm focal length, ISO 125, 1/50 second at f/1.7.

      Crop from the above image at 100% magnification.

      Backlit scene; 28mm focal length, ISO 400, 1/50 second at f/11.

      Sunstar and flare artefacts; 28mm focal length, ISO 500, 1/50 second at f/16.

      Flare artefact and slight veiling flare caused by strong backlighting; 28mm focal length, ISO 100, 1/80 second at f/5.6.

      Close-up at 28mm focal length, ISO 100, 1/125 second at f/2.8.

      28mm focal length, ISO 100, 1/125 second at f/11.

      28mm focal length, ISO 100, 1/125 second at f/11.

      28mm focal length, ISO 640, 1/50 second at f/11.

      28mm focal length, ISO 4000, 1/50 second at f/11.

      28mm focal length, ISO 100, 1/200 second at f/10.

      28mm focal length, ISO 100, 1/200 second at f/10.

      28mm focal length, ISO 100, 1/100 second at f/9.

      28mm focal length, ISO 100, 1/200 second at f/11.

      28mm focal length, ISO 100, 1/800 second at f/11.

      28mm focal length, ISO 100, 1/200 second at f/8.

      28mm focal length, ISO 100, 1/200 second at f/8.

      Still frame from MOV C8K (8192 x 4320) video clip recorded at 25 fps.

      Still frame from MOV 8K (7680 x 4320) video clip recorded at 25 fps.

      Still frame from MP4 C4K (4096 x 2160) video clip recorded at 50 fps.

      Still frame from MP4 4K (3840 x 2160) video clip recorded at 50 fps.

      Still frame from MP4 C4K (4096 x 2160) video clip recorded at 25 fps.

      Still frame from MP4 4K (3840 x 2160) video clip recorded at 25 fps.

      Still frame from MP4 FHD (1920 x 1080) video clip recorded at 50 fps.

      Still frame from MOV FHD (1920 x 1080) video clip recorded at 50 fps.

      Still frame from MOV FHD (1920 x 1080) video clip recorded at 25 fps.



      RRP: AU$10,290

      • Build: 9.5
      • Ease of use: 8.8
      • Autofocusing: 8.9
      • Image quality JPEG: 8.8
      • Image quality RAW: 9.0
      • Video quality: 8.9