In summary
The Leica Q2 is beautifully built. It matches the original Q in fast, accurate autofocus and near silent operation, and with a low-key appearance makes the Q2 ideal for street and reportage photography (see results in the Samples tab). Video performance was much better in the new camera and the 75mm crop can be handy.
Like the original Q, the Q2 is essentially a closed system. There are no options to extend the lens beyond what the camera offers so it’s not really suitable for sports and wildlife photography. However, the 75mm crop option may be suitable for portraiture, given the fast f/1.7 lens, which offers potential for attractively blurred backgrounds.
The Q2 would also be usable for landscapes, cityscapes and architectural and product photography. And while it’s not exactly pocketable, the Q2 is compact and light enough to make an acceptable traveller’s camera.
The pared-back, traditional controls and its support for the DNG.RAW format will endear the Q2 to imaging purists.
Full review
The Leica Q2 is a fixed-lens, full-frame camera sporting a new 47.3-megapixel ‘full frame’ sensor but the same 28mm f/1.7 Summilux lens as the original Leica Q. The higher-resolution sensor enables Leica to offer three digital zoom settings, adding a 75mm position to the previous 35mm and 50mm choices in the Q. Resolution is cut from 47.3 to seven megapixels with the 75mm setting. The new camera’s body has also been rebuilt to incorporate dust and moisture resistance and there are improvements to the EVF and battery capacity.
Angled view of the Leica Q2 camera. (Source: Leica Camera.)
Leica has addressed some of the issues that were identified with the previous model, including the cancelling self-timer, which is no longer re-set to off after each shot, although the camera still sets it to off when power is switched off. The dioptre adjustment on the EVF now provides a more useful -4 to +3 dpt adjustment. However, manual focus still provides only 3x magnification of the centre of the frame.
ISO adjustments are still in full stops but shutter speeds in the new camera can be set in 1⁄3 stop increments, bringing them into line with aperture and EV compensation adjustments. Formatting the memory card continues to re-set the folder number to 100 and the file number to 0001, which can create problems when you download files into a folder that contains frames from a previous shoot since there will be images with the same numbers in each download. As we noted with the Leica Q, we’d like to see some way to rename folders and files automatically so this doesn’t occur
The Leica Q2’s nearest competitor is the Sony Cyber-shot DSC-RX1R II, which has a 42.4-megapixel ‘full frame’ sensor and was announced in October 2015. It’s currently listed on Sony’s Australian website at AU$5499, which is well below the Q2’s price tag of AU$7990. It’s also below the price of the Leica Q, which is listed on Leica’s Australian website at AU$6300.
The 35mm f/2 lens on the DSC-RX1R II is less versatile and its maximum burst speed is half that of the Leica Q2. On the plus side, the Sony camera offers four aspect ratio crops, while both Leica Q models are strictly 3:2 format.
Apart from the significant increase in sensor resolution, the new Q2 offers some important advances over its predecessor, The table below compares the two cameras.
| Leica Q | Leica Q2 | |
| Sensor | 24 x 36mm CMOS with 26.3 million photosites | 24 x 36mm CMOS with 50.4 million photosites |
| Effective resolution | 24.2 megapixels | 47.3 megapixels |
| A/D conversion | 14-bit | |
| Lens | Leica Summilux 28 mm f/1.7 ASPH. | |
| Optical design | 11 elements in 9 groups, incl. 3 aspherical elements | |
| Zoom crops | 28 mm, 35 mm, 50 mm | 28 mm, 35 mm, 50 mm, 75 mm |
| Stabilisation | Yes | |
| AF system | Contrast detection with face detection & touch focus | |
| Focus points/areas/zones | 49 AF points | 225 focus areas, 49 focus zones |
| AF range / Macro limit | 30 cm to infinity / 17 cm | |
| EVF | 3.68MP LCOS display | 3.68MP OLED display |
| Monitor | 3-inch LCD, 1,040,000 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 |
| 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 |
| Flash | External (add-on) | |
| Movie button | Yes | No |
| Video format | MP4/AAC stereo audio | |
| 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 |
| Native ISO range | 100-50,000 | 50-50,000 |
| Storage media | One SD/SDHC slot (UHS-I) | One SD/SDHC/SDXC slot (UHS-II) |
| Connectivity | USB 2.0 (480 Mbit/sec), HDMI, 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 |
| Battery charging | Via separate charger (supplied) | |
| Dimensions (wxhxd) | 130 x 80 x 93 mm | 130 x 80 x 92 mm |
| Weight with battery | 640 grams | 734 grams |
| RRP | AU$5900 | AU$7,990 |
The Q2 is supplied with a carrying strap, lens hood, lens cap, accessory shoe cover, battery, spare battery charger and local power cable. The user manual and Quick Start Guide must be downloaded from Leica’s website.
The camera supplied for our review was running with the original firmware version 1.0. On 5 August 2019, Leica issued new firmware, version 1.1, which addressed the following issues:
1. Making DNG files recorded in the ‘Continuous Super Speed’ mode readable in Adobe software.
2. In ‘Burst Shooting Mode’ (H/M/L) an attached flash is now triggered more than once (depending on the power of the flash).
3. Stabilised the image download via the Leica FOTOS in combination with ‘Remote-Wake up’ as well as display of aperture values after wake up.
4. In the ‘JPGs only’ setting, images can now be taken continuously with a one second ‘Interval’ without losing frames.
5. Overall performance with ‘DNG + JPG’ has been improved but to allow for variations in SD-card writing speeds, users should wait for at least two seconds after recording bursts to ensure all DNG + JPEG images will be saved.
We opted to update the firmware in the review camera before embarking upon our tests.
Who’s it For?
Like the original Q, the Q2 is essentially a closed system. There are no options to extend the lens beyond what the camera offers so it’s not really suitable for sports and wildlife photography. However, the 75mm crop option may be suitable for portraiture, given the fast f/1.7 lens, which offers potential for attractively blurred backgrounds.
The Q2’s very quiet shutter and subdued appearance will make it suitable for street and reportage photography. It would also be usable for landscapes, cityscapes and architectural and product photography. And while it’s not exactly pocketable, the Q2 is compact and light enough to make an acceptable traveller’s camera – provided it’s comprehensively insured.
The high price tag will put this camera out of the reach of most camera buyers, which is a pity since it’s nice to use and can deliver good results. The pared-back, traditional controls and its support for the DNG.RAW format will endear it to imaging purists.
Build and Ergonomics
Like its predecessor, the Q2 is made in Germany and sports a full metal housing made from die-cast magnesium with leather cladding. Unlike the Q, the new model has protective sealing against dust and water spray, making it usable in all weather conditions. However, this comes at the expense of USB and HDMI ports.
Front view of the Leica Q2 showing the lens without its hood and the flat front panel. (Source: Leica Camera.)
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. An accessory grip is available for AU$190. It attaches to the base plate and includes a finger loop.
The Summilux 28mm f/1.7 ASPH. lens is the same as on the original Leica Q, with an optical design that uses 11 elements in nine groups. Three aspherical elements are included and optical image stabilisation is built in.
Like most Leica cameras, the Q2 provides only the essential physical controls. The power on/off switch no longer controls the drive mode; users must go to the menu to change it.
Apertures are set via a ring on the lens and shutter speeds via a dial on the top panel. Both include an ‘A’ setting for automatic exposure determination.
Top view of the Leica Q2 showing the main physical controls. (Source: Leica Camera.)
The aperture ring is close to the front of the lens. Behind it is the focusing ring, which has a finger lever with a locking button that lets users switch between auto and manual focusing. Behind the focusing ring is a distance scale, which is on a ring that is coupled with the macro switch, a ring close to the camera body.
Switching to the macro setting pushes out an inner distance scale that carries distance markings for the close focusing range, which extends from 17 cm to 30 cm. It’s not true macro but focuses closely enough to be useful.
Rear view of the Leica Q2. (Source: Leica Camera.)
The rear panel is dominated by the 75 x 50 mm LCD monitor, which has a smooth matte surface that is flush with the rest of the camera body. Focus area selection is available as one of the touch controls supported but, unfortunately, you can’t set the focus point by touch while using the EVF. It’s a pity a joystick wasn’t provided for this purpose.
Above the screen on the left side is the EVF housing, with a relatively large, firm rubber eyecup and a dioptre adjustment knob to its right. An eye sensor, which switches between the EVF and monitor, is concealed in the rubber eyecup on the right hand side.
Leica has swapped from a liquid crystal on silicon (LCOS) display to an OLED (organic light-emitting diode) display for the viewfinder on the new camera. Resolution remains the same at 3.68 megapixels but the newer technology provides better contrast and colour depth. The performance of the ‘finder is as good as on the previous model in most situations, although we found slight traces of moiré under fluorescent lighting.
Like the Leica Q, the Q2 provides a dedicated zoom/lock button just above the top right hand corner of the monitor screen for toggling through the ‘digital zoom’ cropping options (see below). With each press, a bright frame marks out the area captured in JPEG format without reducing the uncropped view so you can see what is going on outside the frame. Raw files are not cropped.
Three buttons are lined up vertically along the left hand side of the monitor, providing direct access to the Play, Function and Menu settings. The ISO and Delete buttons on the original Q have been eliminated but these functions can be assigned to one of the camera’s two function buttons.
Only one Fn button has been labelled but there’s a new customisable button in the centre of the control dial on the top of the camera at the right hand edge. Each button can only be assigned to a single function. However, holding either button down displays a menu showing other options so you can choose an alternative when required.
Pressing the Menu button displays six pages of functions, starting with a Favourites page that can be set up to give you quick access to eight frequently used functions. The arrow pad can be used to toggle from one page to the next (in either direction). The arrow pad is unlabelled but has the standard four directional controls plus the central ‘OK’ button.
The base plate of the Leica Q2. (Source: Leica Camera.)
As is usual, the battery compartment is located on the right hand side of the base plate, with the base of the battery doubling as a compartment cover. To remove the battery, you flip the lever beside the compartment, which pops out the battery. You must then push it in a little to unlock it and pull it out.
Memory cards are loaded on the opposite side of the base plate, in a compartment that sports a neat sliding cover. Pushing it back raises the cover automatically, revealing a single card slot that accepts regular SD cards. The latest UHS-II cards are supported.
Between these compartments lies a metal-lined tripod socket, which is in line with the axis of the lens. Like the original Leica Q, this camera is not designed to accept an add-on battery grip to supplement the 370-shot capacity of the supplied BP-SCL4 battery.
Focusing and Exposure
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. (Unfortunately the pages in the user manual that identify the parts of the camera don’t show this button, although it’s shown on the Quick Start Guide as well as on page 64 of the user manual.)
Leica claims the contrast-based AF system can lock-on within 0.15 seconds, making it ‘one of the fastest cameras in its class’. However, focusing modes are relatively limited with only AFS (‘shutter release only after successful focusing’) and AFC (‘shutter release possible at any time’) modes available.
The camera also offers single-zone selection from 225 fields as well as multi-field, face recognition and subject tracking. Eye AF is not available and no provision is made for tracking different types of subjects.
The standard multi-field, centre-weighted average and spot metering patterns are supported but, again, with no additional refinements available. For those who use scene pre-sets, the Q2 comes with 13 options: fully automatic, sport, portrait, landscape, night portrait, snow/beach, fireworks, candlelight, sunset, digiscoping, miniature effect, panorama and time lapse. The ‘digiscoping’ mode is used for coupling the camera to a telescope or bird-watcher’s spotting scope and is designed for use with the Q/A2 adapter (RRP AU$200).
Exposure compensation is also quite limited with a range of +/3EV in 1/3EV steps. Exposure bracketing is supported across this range with three or five frames per sequence. No other bracketing options are provided.
Shutter speeds range from 60 seconds to 1⁄2000 second with the mechanical shutter or one to 1⁄40000 second with the electronic shutter, again in 1/3EV increments. Flash exposures can be synched at up to 1/500 second.
Sensor and Image Processing
The ‘full-frame’ CMOS sensor distinguishes the Q2 from its predecessor. With a total of 50.4 million photosites, it delivers a maximum resolution of 47.3 megapixels. Where the original Q provided three cropped frame ‘digital zoom’ settings, the Q2 adds a 75mm crop, thanks to its higher resolution. The table below shows how the frame is cropped at the various image size settings.
| JPEG Setting | 28mm | 35mm | 50mm | 75mm |
| Large | 8368 x 5584 px | 6704 x 4472 px | 4688 x 3128 px | 3136 x 2096 px |
| Medium | 6000 x 4000 px | 4800 x 3200 px | 3360 x 2240 px | 2240 x 1496 px |
| Small | 4272 x 2848 px | 3424 x 2288 px | 2400 x 1600 px | 1600 x 1072 px |
As with the Leica Q, DNG.RAW frames are not cropped, so if you record RAW+JPEG pairs you have 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 and the 6.5-megapixel Large JPEG files produced by the 75mm crop were usable in many situations (including printing at A4 size).
Being able to see what was happening outside the frame crop can also be handy at times. However, on many occasions during the time we used the Q2 we wished the camera had a 28-75mm zoom lens – or something a little longer – that supported zooming at full resolution.
The updated Maestro II image processor enables the camera to extend its sensitivity range down to ISO 50, although the upper limit remains at ISO 50,000. The addition of an electronic shutter pushes the maximum continuous shooting speed up to 20 fps with fixed focus.
With the mechanical shutter, a top speed of 10 fps with AF and AE is claimed. Sadly, buffer depths are pretty small, with a claimed limit of 25 JPEGs or 14 DNG.RAW files. As a slight compensation, using a UHS-II SD card should mean the buffer clears in half the time of slower cards.
Video
Unlike the original Leica Q, there’s no movie button on the Q2. To engage movie mode you must press the central button on the arrow pad until the movie mode icons, circled in red, appear in the EVF or on the monitor.
The movie mode icons are circled in red in this screen grab.
Selecting movie mode 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.
There’s been a significant improvement in video capabilities in the new camera. Whereas the Q topped out at Full HD at 60 frames per second, the Q2 can record Cinema 4K (4096 x 2160) video at 24 fps and UHD 4K (3840 x 2160) at 30 fps. Full HD (1920 x 1080) recording is available at up to 120 fps, with 60, 30 and 24 fps also supported.
Frames are slightly cropped in video mode – and that also applies to the focal length crops. The camera also defaults to Program AE with the shutter speed at 1/50 second or faster. ISO and aperture settings are adjusted automatically, depending on ambient lighting.
The camera also selects the Video Style profile by default but users can choose from Standard, Vivid, Natural, Monochrome and Monochrome HC (High Contrast) settings within the menu. Log profiles are not provided. White balance adjustments are the same for video and stills.
Other settings are the same as for shooting stills, although the fast autofocusing, manual focusing controls and peaking display make focusing remarkably easy and reliable when shooting video. Zebra patterns for monitoring exposure are also available. Sadly, the lack of ports for an external microphone or headphones limit the use of the camera for serious videography.
Connectivity
Leica has pared back the connectivity options on the new camera to Bluetooth v4.2 (Bluetooth low Energy) and Wi-Fi, which means the camera can only be controlled remotely by using a smartphone or tablet on which users have installed the Leica FOTOS app. A printed QR code is provided on page 130 of the user manual to make installation stress-free.
Once the camera and smart device have been ‘paired’, GPS data will be written automatically to the Exif metadata as pictures are taken if the Bluetooth function in the camera is activated. The app also enables users to activate and operate the camera remotely and transfer, edit and share images.
Playback and Software
Pressing the Play button displays the last picture or movie clip taken. Camera settings are displayed in the headers and footers, while the frame number is shown in the upper right corner of the screen. The new camera provides the same playback options as its predecessor, including both slideshow and movie playback. A 3×3 grid overlay, brightness histogram, clipping display and horizon line are provided in the Capture Assistants sub-menu.
Three tiny holes below the arrow pad indicate the speaker for delivering monaural audio when movies are played back. Most playback functions can be implemented via either touch or button controls.
Unlike the original Leica Q, the Q2 isn’t bundled with Adobe Lightroom. However, buyers in some areas (but, it seems, not Australia) receive a 90-day license version of the Adobe Creative Cloud Photography Plan.
Performance
The combination of such a fast lens with a high-resolution sensor proved challenging for our Imatest software but our tests showed that the lens came close to expectations for the sensor’s resolution for JPEGs and exceeded expectations for DNG-RAW files. Performance was similar for the three frame crops reflecting consistently good results throughout the most frequently-used settings.
The graph below shows the results of our Imatest measurements. Note that resolution is reduced by frame cropping to cover the longer focal length equivalents.
Resolution remained relatively high throughout most of the review camera’s sensitivity range, with a very gradual decline from about ISO 400 on. Raw files maintained their advantage over JPEGs across the sensitivity range, as shown in the graph of our test results for the 28mm focal length, shown below.
Lateral chromatic aberration remained within negligible levels in the DNG.RAW files we tested, although we found traces of coloured fringing in some test shots (an example is provided in the Samples section below). Because the camera automatically corrects this problem in JPEG files, the graph above shows the results from raw files recorded with the camera. As usual, the red line marks the boundary between negligible and low CA.
Long exposures taken at night showed little noise right up to ISO 6400. 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.
The auto white balance 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. Although no in-camera adjustments are provided for adjusting colour balance on-the-fly, the Q2’s white balance sub-menu does include colour temperature settings, which are selectable between 2000K and 11,500K; slightly wider than the 2500K to 10,000K most pro-sumer cameras offer.
We found no visible evidence of rectilinear distortion in either JPEGs or DNG.RAW files. Coloured fringing, where it occurred, was a minor issue with this camera’s lens.
Autofocusing was very fast and accurate, both with normal shooting and when the touch screen was used to set the focus position. 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, although frames captured with the Full HD 120 fps mode were a little soft, particularly with moving subjects. The AF system, although not as fast as it was for stills, proved able to keep pace with slow and medium-paced movements for the other recording frame rates.
As with the previous camera, minor delays could sometimes occur when the lens refocused as subjects rapidly changed their distance from the camera. Exposures were generally quick to re-adjust when light levels changed during a recording.
Soundtracks were generally clear with acceptable quality, considering the sizes and separations of the tiny in-camera microphones. Thanks to the near-silent operation of the camera, recorded clips showed no apparent interference from focusing and zooming and the wind-reduction filter did a good job of suppressing wind noise.
Our timing tests were conducted with a 64GB SanDisk Ultra SDXC U3 UHS-II card which claims a transfer speed of 300MB/second. The review camera took just under 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 0.55 seconds. On average, high-resolution JPEGs took approximately 0.1 seconds to process, while RAW+JPEG pairs were processed in 2.2 seconds.
In the super-speed continuous shooting mode we were able to record at 20 JPEG frames in 1.6 seconds before recording stopped. Processing this burst of shots took 6.1 seconds. The normal high-speed mode captured 28 JPEG frames in 3.2 seconds before slowing. Processing this burst took 5.8 seconds.
With DNG+JPEG files in the super-speed mode, recording ceased after 12 frames, which were captured in half a second. Processing this burst took approximately 35 seconds. Changing to the high-speed mode, the buffer memory filled after 14 frames, which were recorded in 1.6 seconds. It took roughly 340 seconds to clear the buffer memory.
Conclusion
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SPECS
Image sensor: 36 x 24 mm CMOS sensor with 50.4 million photosites (47.3 megapixels effective)
Image processor: Maestro II
A/D processing: 14-bit
Lens: Leica Summilux 28mm f/1.7 ASPH., 11 elements in 9 groups, 3 aspherical elements; minimum aperture f/16
Digital frame selector: 28 mm, 35 mm, 50 mm, 75 mm
Image formats: Stills – JPEG (DCF / Exif 2.3), DNG.RAW, RAW+JPEG; Movies – MP4/AAC stereo audio
Image Sizes: Stills – at 28mm: 8368 x 5584, 6000 x 4000, 4271 x 2848; at 35mm: 6704 x 4472,4800 x 3200, 3424 x 2288; at 50mm: 4688 x 3128, 3360 x 2240, 2400 x 1600; at 75mm: 3136 x 2096, 2240 x 1496, 1600 x 1072; DNG.RAW files: 8368 x 5584; Movies – 4K at 30/24 fps, C4K at 24 fps, Full HD at 50, 25, 24 or 100 fps
Shutter / speed range: Optionally mechanical, electronic or hybrid / 60 to 1/2000 seconds with mechanical shutter, 1 to 1⁄40000 second with electronic shutter; adjustable in 1/3EV steps’ flash synch up to 1/500 sec.
Self-timer: 2 or 12 seconds delay
Image Stabilisation: Built-in optical compensation system for photo and video recordings
Exposure Compensation: +/- 3EV in 1/3 EV steps
Bracketing: AE bracketing of 3 or 5 exposures across +/- 3 EV in 1⁄3 EV steps
Focus system/range: Contrast-based AF system with AF-S, AF-C and manual modes; range: 30 cm to infinity; macro to 17 cm
Focus area selection: Single zone (225 fields), multi-field, face recognition, subject tracking
Exposure metering/control: Multi-field, center-weighted, spot
Shooting modes: Automatic program, aperture priority, shutter speed priority and manual setting
Scene presets: Fully automatic, sport, portrait, landscape, night portrait, snow/beach, fireworks, candlelight, sunset, digiscoping, miniature effect, panorama, time lapse
In-camera JPEG adjustments: Standard, Vivid, Natural, Monochrome, Monochrome High Contrast, all with additional settings for contrast, saturation and sharpness in 5 steps
Colour space options: sRGB, Adobe RGB, ECI RGB V.2.0
ISO range: Auto, ISO 50-50,000 selectable in 1 EV steps
White balance: Auto, daylight, cloudy, halogen lighting, shadow, electronic flash, grey card, manual colour temperature setting
Flash: External flash only
Sequence shooting: Max. 20 frames/second with electronic shutter & fixed focus (10 fps with mechanical shutter and AF/AE)
Buffer memory depth: 25 JPEGs, 14 DNG.RAW files
Storage Media: SD/SDHC/SDXC memory cards, UHS II cards recommended
Viewfinder: OLED EVF with 3,680,000 dots (1280 x 960 pixels x 3 colours); 100% frame coverage, 4:3 aspect ratio, 21 mm eyepoint, -4 to +3 dpt adjustment, eye sensor
LCD monitor: 3-inch TFT LCD with 1,040,000 pixels, touch control supported
Interface terminals: Micro USB socket (2.0), HDMI socket
Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode; Bluetooth LE
Power supply: BP-SCL4 lithium ion battery (7.2 V DC, 1860 mAh); CIPA rated for approx. 350 shots/charge
Dimensions (wxhxd): 130 x 80 x 91.9 mm
Weight: 734 grams (with battery and memory card)
Distributor: Leica Camera Australia, (03) 9248 4444
TESTS
Based on JPEG files.
Based on DNG.RAW files converted into 16-bit TIFFs with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
60-second exposure, ISO 50; 50mm crop at f/2.8.
60-second exposure, ISO 100; 50mm crop at f/4.
15-second exposure, ISO 800; 50mm crop at f/5.6.
10-second exposure, ISO 1600; 50mm crop at f/8.
5-second exposure, ISO 6400; 50mm crop at f/11.
2-second exposure, ISO 25000; 50mm crop at f/13.
1-second exposure, ISO 50000; 50mm crop at f/16.
28mm focal length, ISO 400, 1/50 second at f/11.
35mm crop, ISO 500, 1/50 second at f/11.
50mm crop, ISO 500, 1/50 second at f/11.
75mm crop, ISO 400, 1/50 second at f/11.
28mm focal length, ISO 100, 1/1000 second at f/5.6.
35mm crop, ISO 100, 1/1000 second at f/5.6.
50mm crop, ISO 100, 1/640 second at f/5.6.
75mm crop, ISO 100, 1/800 second at f/5.6.
Close-up in Macro mode; 28mm focal length, ISO 100, 1/160 second at f/2.8.
28mm focal length crop, ISO 640, 1/50 second at f/11.
Crop from the above image showing traces of coloured fringing in areas with very high contrast boundaries.
Backlighting; 28mm focal length, ISO 200, 1/50 second at f/10.
28mm focal length, ISO 125, 1/50 second at f/11.
28mm focal length, ISO 100, 1/200 second at f/10.
28mm focal length, ISO 100, 1/100 second at f/9.
75mm crop, ISO 100, 1/200 second at f/4.
Near silent operation facilitates close-up shots with the widest angle of view; 28mm focal length, ISO 100, 1/60 second at f/9.
28mm focal length, ISO 100, 1/320 second at f/5.
Crop from the above image showing the AF system’s ability to lock onto moving subjects.
28mm focal length, ISO 100, 1/500 second at f/5.6.
50mm crop, ISO 100, 1/640 second at f/5.6.
35mm crop, ISO 200, 1/50 second at f/11.
75mm crop, ISO 100, 1/125 second at f/5.6.
28mm focal length, ISO 100, 1/160 second at f/11.
75mm crop, ISO 100, 1/125 second at f/5.6.
75mm crop, ISO 200, 1/500 second at f/5.6.
Still frame from MP4 C4K (4096 x 2160) video clip recorded at 24 fps.
Still frame from MP4 UHD4K (3840 x 2160) video clip recorded at 24 fps.
Still frame from MP4 FHD (1920 x 1080) video clip recorded at 60 fps.
Still frame from MP4 FHD (1920 x 1080) video clip recorded at 30 fps.
Still frame from MP4 FHD (1920 x 1080) video clip recorded at 24 fps.
Still frames from two MP4 FHD (1920 x 1080) video clips recorded at 120 fps.
Rating
RRP: AU$7,990; US$4995
- Build: 9.5
- Ease of use: 8.7
- Autofocusing: 9.0
- Image quality JPEG: 8.8
- Image quality RAW: 9.0
- Video quality: 8.9
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