In the wake of her Dazed 100 nomination, we speak to the South African-born visual artist about the inspirations behind her compelling images, future aspirations, and why her star sign is cancer ‘through and through’

Even though SLR cameras adopted digital image sensors as far back as the 1980s, other key components have remained defiantly mechanical. Mirrorless cameras removed the mirror and optical viewfinder components, of course – but some models have gone even further by offering an electronic shutter.

Right now, most of these cameras provide both mechanical and electronic shutters, because the technology that enables the latter is still maturing. But while electronic shutters aren’t perfect, they offer important and worthwhile advantages. Of course, whether these benefits apply to your photography is another matter.

Pros of electronic shutters

They’re silent: Soundless shooting is a big benefit in sensitive situations such as weddings, stage performances and wildlife photography. A few models let you set a shutter noise if you prefer a ‘click’.

They’re vibration-free: With no mechanics to worry about, electronic shutters are totally vibration-free, which reduces the risk of camera shake.

You get super-rapid shooting: Mechanical shutters, where there is a chain of events when the shutter button is pressed, will have a top shooting rate of between 10 and 15fps. Electronic shutters can deliver shooting rates of 20fps and above.

They have faster shutter speeds: The fastest mechanical shutter speed is 1/8,000 sec. By comparison, many electronic shutters go to 1/32,000 sec and beyond. The fastest speed currently available is the 1/180,000 sec found on Fujifilm’s X-H2, launched in 2022. 

There’s no wear and tear: A mechanical shutter will be engineered to give a minimum number of actuations – the Canon EOS R5 is rated at 500,000 cycles, for example. With no moving parts, an electronic shutter should last much longer.

Cons of electronic shutters

They can generate rolling shutter distortion: Electronic shutters do not expose the whole frame at the same instant, so with moving subjects, rolling shutter distortion can occur. Top-end mirrorless cameras have fast readouts so it’s much less of a problem, but lower-spec cameras can suffer badly, so a mechanical shutter is advised with sports or wildlife photography. The global shutter, which will be seen first in the Sony A9 III when it arrives in 2024, will solve this problem

They can create banding: Artificial lighting such as fluorescent lighting flickers. When you’re shooting with an electronic shutter, this may result in banding at faster shutter speeds. If in doubt, shoot at 1/30 sec or slower in these environments.

Most don’t sync with flash: Many mirrorless camera electronic shutters do not synchronize with flash at all, so there’s no option other than to use the mechanical shutter. But some top-end mirrorless cameras offer flash sync with both types of shutter.

Shutter types explained

Mechanical focal plane shutter

A mechanical focal plane shutter uses two lightproof blinds or ‘curtains’ that traverse – vertically in most cameras – across the focal plane to make the exposure. Press the shutter button and the first curtain starts the exposure, followed by the second curtain which ends it. In effect, the two blinds, which travel at the same speed regardless of the set speed, produce a slit – the thinner the slit, the faster the shutter speed. When the slit is wide enough to reveal the entire image sensor, that is the camera’s flash sync speed.

Electronic front curtain shutter

Engaging the camera’s electronic front curtain shutter (EFCS) option minimizes vibration and noise. Since mirrorless cameras have no reflex mirror to move before starting the exposure, the EFCS means the exposure starts electronically almost instantly, with the rear curtain ending it. This also keeps shutter lag to a minimum to help time a shot more precisely. With an EFCS, any vibrations created by the rear curtain closing happen after the exposure has ended, so have no consequence.

Electronic shutter

An electronic shutter reads image data from top to bottom, row by row, so there is a fractional time delay, with the result that moving subjects can suffer from rolling shutter distortion. For example, the wheels of a moving car can look elliptical. Fast electronic shutter speeds can also suffer from banding with some forms of artificial lighting such as fluorescent tubes. Using flash is also an issue and is limited to a few top-end cameras. This shutter type is vibration-free, silent, has higher top speeds, allows faster continuous shooting and lasts longer.

Ian and I met seven years ago when our mutual friend Alan Cumming sat us next to each other at a dinner party. We hit it off and Ian invited me to join his quiz team the following week at the Grapes, his pub in east London. I’ve been going ever since. Our team name changes every week. There’s another team, called the Pirates of Men’s Pants, who tend to win, but we beat them maybe once a month. Doing the pub quiz regularly fits with Ian’s whole way of life, which is about making time to have fun. We’ve become good friends: we go to the theatre, or go dancing. He’s hilarious: his timing is always on point, but his humour is never at other people’s expense.

I think of portraiture as a collaboration, so it’s better if you know the person, otherwise there’s a risk you can project something of yourself on to them. Ian has allowed me to photograph him casually many times. For the first time, he was draped in lots of material from a photographic backdrop – Ian said the picture should have been titled Camp – and there was another where he was dressed as Ivor Novello.

But for this picture, I was going into his private space – his dressing room – a few minutes before he went on stage as Mother Goose. I’ve been backstage at the Royal Ballet and all sorts of big productions, but I was curious about what it would be like at a panto. When you see panto, you think: “What is this?” Especially if you’re not from Britain. I grew up in Switzerland, and I did go to a few pantos because I was at an English school where the expat community would stage them, but I still found them confusing.

I’ve known Mother Goose since I was a child, though. She’s the imaginary author of a collection of 17th-century fairy tales by Charles Perrault; my French granny used to read them to me. When Ian gets into costume as Mother Goose, he actually looks like my grandmother! Her hair was like the wig he wears. It’s uncanny. She’d read those stories to me – and now I was photographing an actor who has devoted his life to telling stories.

Nothing in the picture is staged. I was just clicking away silently. We didn’t overthink it or discuss it much. The minute I walked in, he said: “Snap away. Whatever you like. You don’t need to ask.” He was very trusting and I felt free to get stuck in.

What I like is that he’s already halfway through his transformation. He’s done his makeup and there’s enough of him there but you can see the character starting to appear. His arm is probably raised because he was gesturing to his dresser, Tom McCormack, that he was ready to put his dress on. He couldn’t wear it before because it’s so hot and heavy. He was wearing so much padding, and it’s not necessarily the most flattering image, but there’s zero retouching. Ian doesn’t ask to be retouched, unlike a lot of younger people. Once you reach a certain age, you are who you are, right? I think it makes it more authentic.

The best portraits combine high and low elements – something pulling it into another dimension, with the details of everyday life bringing the picture back to reality. It’s those competing forces that for me make it exciting. You’ve got Ian looking out-of-this-world, then there’s that curtain behind him. So many people have asked: “Why did you leave that there?” But it’s great to have this polarising pattern, which could be viewed as quite ugly. I think it contributes a lot. It brings reality in and so do the bin, the cable from the hairdryer and the items on the dressing table – a doll, sweets, cards.

In those few minutes in the room, I was searching for the portrait – and I believe I found it. I caught him looking at me. You can see his face and who he is as a person. I’d rather let the viewer decide who that is, make up their own mind. But to witness someone at any age, let alone in their 80s, transform so radically gives me a special kind of joy. It shows that you can play for life. I really admire how Ian is still doing that.

Frederic Aranda’s CV

Born: Geneva, 1980
Trained: Self-taught
Influences: “Kabuki theatre, classical ballet, anime, French literature”
High point: “Making a group portrait of an entire voguing house called The House of Gorgeous Gucci, and then seeing the image as a mural in front of the National Portrait Gallery when it was selected as a finalist in the Taylor Wessing portrait prize last year.”
Low point: “Anytime jetlag is involved. I need at least eight hours’ sleep every night!”
Top tip: “Embrace your mistakes. Photography is a lifelong pursuit and you should compete patiently against yourself, not your peers.”

The team at Skylum contacted us with the idea of writing a general introduction to using AI in photography, and given that this is an area currently ripe with misinformation, we thought it well worth the effort. Vladislav Patana is your guide…

This article explores the role of AI in photography. We’ll cover its history, how photographers currently use AI for shooting and editing, and where the technology is headed. We also discuss the tools available for creating AI-generated images and address related ethical concerns.

Artificial intelligence (AI) has transformed not just how we edit, but also how we capture images. What was once a simple camera is now an astute partner that, with the aid of AI, elevates your skills, helping you effortlessly encapsulate the very essence of your subjects.

This article embarks on an enlightening journey, retracing the steps of AI’s role in photography—from its modest origins to the sweeping changes it instigated in the industry. As we navigate this tale, we’ll uncover the historical intricacies of this groundbreaking technology, understand its profound impact on photographic methods, and envision the promising future that lies ahead in this dynamic union of art and technology.

Unraveling the AI phenomenon

The origins of artificial intelligence in photography can be traced back to the early days of computer image processing. However, the late 20th century saw significant advancements in computer vision and pattern recognition, forming a basis for AI integration in photographic art. 

As we fast-forward to the present, AI in photography has come of age. The industry now stands on the cusp of a technological revolution, completely reconsidering and recreating the photography landscape within the standards of the new reality. 

When it comes to art and creativity in general and photography in part, many people still need to be convinced about relying on AI. They fear the machines will possibly replace humans and leave no space for their unique creative vision, standardizing everything according to the primarily developed algorithms. 

But we live in a digital world, and machines are inevitable in every sphere of life, whether we like it or not. So, instead of positioning artificial intelligence as a rival of creators, we need to learn how to turn it into our reliable companion and helper in our creative journey. How to do it? Let’s see in the following section. 

Practical uses of AI for photographers

Getting ready for shoots using AI

Utilizing AI to prepare for photo shoots offers many advantages, from improved efficiency to enhanced creativity. For example, some tools can suggest shooting locations based on desired features or backgrounds. These tools analyze real-world data and match it against script requirements, determining the perfect spot for your shooting ideas.

Beyond just assisting with location choices, AI can help visualize a place with props, models, and lighting without being physically present. It can also optimize the sequence of shots or locations to ensure efficiency and generate a checklist of required gear based on the shoot’s complexity and needs.

In the context of modeling, AI can offer pose suggestions tailored to the model’s physique, attire, and the shoot’s overarching theme. It quickly sifts through multiple shots to select the best ones based on sharpness, composition, and other desired criteria. Moreover, certain AI-driven tools provide suggestions on image styles and compositions. They can also advise on overarching themes, helping to carve out unique concepts.

Indeed, the preparation tools at our disposal today can be transformative. Embracing them can truly elevate the way we approach and execute photo shoots, showcasing all the advantages of AI technologies.

For those interested in exploring these apps, a simple Google search might suffice. However, a dedicated platform such as TopAI.tools or SaaS AI Tools categorizes AI tools by tags, ensuring you find precisely what you need, accompanied by a comprehensive app description. Also, you can compare or find a more interesting alternative on websites like Saashub.

With the rise of AI in photography, now is a great time to explore and harness these tools to elevate your next photo shoot.

Enhancing your shots in real-time

As Artificial Intelligence takes center stage in various software applications, it’s crucial to highlight its substantial influence on digital cameras. This interaction offers photographers advanced tools that allow them to capture moments with unparalleled precision and artistry.

1. Face Recognition

Facial recognition, a hallmark of AI integration, is transforming portrait photography. Cameras can now instantly identify faces, ensuring that the subjects are always the focal point. This rapid and accurate detection means photographers can trust their equipment to handle facial nuances, enabling them to prioritize other elements of the shot.

2. Detailed Subject Focus

Beyond mere faces, AI has redefined subject recognition, distinguishing with precision between the left and right eyes—a game-changer for autofocus. This feature is further amplified with the recognition of animals and birds, gifting wildlife photographers an unparalleled advantage in complex scenarios. With subjects rendered in sharp clarity, photographers can delve deeper into the nuances of composition, while AI takes charge of perfecting exposure dynamics.

3. Scene Differentiation

AI’s capabilities are not limited to subjects alone. Scene recognition, particularly prevalent in smartphone cameras, allows AI to segregate the main subject from the backdrop, replicating depth of field effects, and spotlighting the main attraction. This innovation is spreading its wings, finding utility in entertainment, healthcare, and security sectors.

4. Immediate Red Eye Correction

The persistent red-eye conundrum in digital photography is nearing its end. Thanks to AI, contemporary cameras can preemptively detect and rectify this glitch, ensuring impeccable photos right from the get-go.

5. Enhanced Zoom and Resolution

AI’s magic extends beyond the moment of capture. It showcases its might in post-capture enhancements, such as maintaining image clarity during zooming or elevating a photo’s resolution for grand-scale prints. Remarkably, select advanced cameras offer these perks in real-time, eliminating the dependency on external editing platforms.

Streamlined editing

An illustration of what can be done with AI in photography provided by Luminar Neo

Artificial intelligence has revolutionized the world of photo editing, too. Gone are the days when photographers and designers spent hours on tedious editing tasks. Thanks to AI, these routine processes can now be accomplished in mere minutes, freeing up valuable time and paving the way for heightened creativity.

For instance, with an AI background remover, you no longer have to laboriously work over layers and stamps for hours on end. Instead, a simple double-click and the artificial intelligence takes over, deftly removing backgrounds and making precise edits that once demanded significant time and expertise.

This paradigm shift has not only transformed the workflow of professionals but has also made high-quality photo editing accessible to amateurs. With this newfound efficiency, there’s an exciting space for more innovation, artistry, and exploration. Many software programs are rapidly integrating artificial intelligence capabilities, making the realm of photo editing cooler and more futuristic than ever before.

As an exemplar of this transformative wave, the AI Photo Editor Luminar Neo stands out. It is among the pioneering software that has seamlessly integrated AI tools into its interface. Its advanced algorithms and intuitive design allow for swift edits, be it enhancing a sunset or retouching a portrait. With Luminary Neo, both seasoned professionals and budding enthusiasts can harness the power of AI, pushing the boundaries of what’s possible in the realm of photo editing.

Imagine you’re photographing a bustling cityscape at night. Neon signs and streetlights beautifully light the intricate details of the city’s architecture. However, capturing the perfect exposure and balancing the highlights and shadows in such a dynamic scene can be challenging. It is where Luminar Neo steps in.

Using AI algorithms, Luminar Neo analyzes the scene and makes adjustments. It balances the exposure, enhances the vibrancy of colors, and ensures that every detail, from the towering skyscrapers to the reflections on wet streets, is captured with stunning clarity.

Luminar Neo analyzes images to identify and suggest improvements. From reducing noise to enhancing sharpness, these AI-driven editing tools allow photographers to achieve their artistic vision more easily and precisely.

Also, Luminar Neo also offers creative filters and presets that can be applied after you shoot. Whether you want to infuse a dreamy, cinematic look into your portraits or add a touch of vintage charm to your street photography, AI-powered filters provide myriad artistic possibilities at your fingertips.

Moreover, the tool can assist in the tedious task of sorting and organizing images. By recognizing and tagging subjects, locations, and other metadata, AI helps photographers quickly find the right image from their extensive collections.

Business boosters

Beyond the creative aspects, the commercial part of photography also relies on artificial intelligence. If photography is not just a creative hobby for you but also a way to earn money, consider AI as a potential helper in your business. 

AI-driven analytics can help photographers understand which images resonate most with their audience, guiding their content strategy and marketing efforts. Additionally, AI can automate administrative tasks like invoicing and client management. 

The image search within a particular database can also be simplified through AI. Shortly, you will be able to describe the image you are looking for, and artificial intelligence will sift through your collection to find the perfect match. It is a game-changer for individual photographers, stock photo agencies, and businesses looking for specific visuals. What else will the future bring to AI usage in photography?

The future of AI software in the photo industry

Imagine an AI-driven camera that doesn’t just adjust settings but actively collaborates with the photographer to suggest unique angles, lighting techniques, or artistic effects in real-time. It would empower photographers to experiment and innovate on a brand-new level so the results of their work will be technically and artistically excellent. 

Regarding post-processing, photo editing tools like Luminar Neo are constantly changing, evolving, and updating, offering users more and more creative possibilities. Hence, the future is much closer than you may think. For example, the latest update made it possible for the users to back out of an edit and reapply it easily, making experimenting with different editing tools more convenient.

A few words about AI-generated imagery

Exploring software tools

AI-generated imagery relies on cutting-edge software tools to create new visuals based on algorithms and data inputs. These tools have the potential to generate stunning and imaginative images, from abstract designs to realistic landscapes, without any human intervention. 

Some tools in this domain include OpenAI’s DALL·E, which can create images from textual descriptions, and DeepDream, which produces hallucinatory and surreal visuals. These tools have applications in art and design and hold potential for various industries, including advertising, entertainment, and even scientific visualization.

Ethical issues to consider

One of the primary concerns is the potential for misuse, such as creating deepfake content that can deceive and manipulate viewers. As AI becomes more adept at mimicking human artistry, distinguishing between AI-generated and human-created content may become increasingly challenging.

Additionally, questions about copyright and intellectual property arise in the context of AI-generated imagery. Who owns the rights to images created by algorithms? How can creators protect their work when algorithms are involved in the creative process? These legal and ethical difficulties are yet to be fully resolved.

Furthermore, the impact of AI-generated imagery on the livelihood of traditional photographers is a subject of debate. As AI becomes more capable of producing high-quality visuals, it could disrupt the photography industry by offering cost-effective and rapid alternatives to human photographers.

Photographers and policymakers must engage in meaningful discussions about the ethical and legal frameworks that should govern AI-generated imagery. Striking a balance between innovation and responsible use is essential to ensure that AI remains a tool for creative expression rather than a source of harm or deception.

AI in photography: conclusion

Artificial intelligence’s role in photography becomes increasingly significant daily, offering new opportunities and posing further questions. The key takeaway is that AI is a tool that can enhance creativity and efficiency, but its ethical and responsible use remains paramount.

AI assists photographers in preparing for shoots, enhances their shots in real-time, streamlines the editing process, and even offers business solutions. The advent of AI-powered tools like Luminar Neo has significantly contributed to this transformation, enabling photographers to unlock new levels of creativity and efficiency.

Embrace AI’s possibilities, but do so with a mindful approach that respects the ethical boundaries of this powerful technology. Enter a new era in photography, where AI and human creativity combine to create visual wonders previously unimagined!

There are many well-known lessons in photography. However, this enlightening video delves into unconventional wisdom, sharing insightful lessons that challenge standard photography norms. 

Coming to you from PJ Pantelis, this excellent video tutorial discusses five important photography lessons. The first standout lesson revolves around the notion that convenience does not equate to quality. This idea challenges photographers to move beyond their comfort zones and usual routines. Pantelis emphasizes the importance of timing and environmental conditions in capturing compelling images. For instance, shooting during the harsh midday sun or in less-than-ideal weather can drastically limit the potential of a photo. The lesson encourages photographers to plan meticulously, considering factors like the time of day and weather conditions. This approach can transform an ordinary scene into a vivid, dynamic composition, revealing that often, the difference between a good and a great photograph is the effort put into planning and waiting for the right moment.

The second lesson, emphasizing the significance of post-production in defining a photographer’s style, is equally impactful. This perspective highlights the transformative power of editing in shaping the final outcome of a photograph. It underscores that while certain shooting conditions and techniques are universal, the creative choices made in post-processing give each photographer their unique voice. Understanding and mastering this phase can elevate a photographer’s work, ensuring consistency and distinctiveness across their portfolio.

Together, these lessons underscore the blend of technical skill, creative vision, and deliberate planning that defines successful photography. They remind us that while technical proficiency is foundational, the true essence of photography lies in the creative choices and personal style that each photographer brings to their work. Check out the video above for more from Pantelis.

A photographer has revealed how she was booked for a “family session” but arrived at the shoot to discover the job was a “full-blown wedding.”

In a series of viral TikTok videos, photographer Shayla Herrington revealed how she was once booked by the bride’s mother-in-law for a family photo session — “because it was so much cheaper” than her wedding packages.

@shaylamherrington 🎬 Part 1: That time I showed up for a ‘family session’ and it was a full-blown wedding! 😲👰🤵 🤔 Ever wonder why wedding photography costs more? 👀 Stay tuned for Part 2 to find out why I couldn’t just switch from family to wedding mode and the real reasons behind wedding photography pricing. #arkansasweddingphotographer #weddingstorytime #photographer #bridetobe #weddingvendor ♬ Monkeys Spinning Monkeys (Piano) – BANG IA

Herrington claimed that she showed up at the venue for the family session. However, she became concerned that she wouldn’t be able to take photos as there was a huge wedding taking place in the same location.

When Herrington voiced her concern to the bride’s mother-in-law, she revealed that they were actually the wedding party.

Instead, the mother-in-law, who is called “Gloria” in the video, says that the photographer had arrived at the perfect time as the bride was getting ready.

‘This Wedding is All Family — There’s Just 75 of Us Today’

A shocked Herrington tells Gloria that she only booked her for “family photos” — not a wedding day. However, the bride’s mother-in-law tries to argue that it’s no different.

“You’re misunderstanding dear,” Gloria argues. “These are all family. We’re all blood-related, there’s just 75 of us here today.”

Herrington tries to explain to Gloria that a wedding is very different from a family photo shoot.

But Gloria argues that she could not book Herrington on the wedding rate as they’re “on a bit of a budget” and that they only need the photographer for a maximum of two and a half hours anyway.

“It was just so much cheaper to book the family session rather than the wedding stuff,” Gloria tells Herrington

Herrington explains that she did not bring any of the camera gear required for a wedding and that she only brought the kit for a family shoot.

The photographer also tells Gloria that a wedding is a lot more work than a family session.

Gloria tries to convince Herrington that “a picture is a picture” and they don’t need the photographer’s “fancy” camera gear to shoot the wedding.

‘Misled’

However, Herrington tells Gloria that she “misled” her about the shoot. Herrington informs her that she can not shoot the wedding as she does not have the suitable camera gear for event photography and she was not paid the right amount for this service.

@shaylamherrington Ever wondered why there’s a ‘crazy markup’ on anything wedding-related? 📸👰🤵 🔍 That time a ‘family session’ was actually a wedding in disguise – and why I couldn’t just play along: 1️⃣ Gear Overload: Wedding photography isn’t just a camera. It’s multiple lenses, backup cameras, special lighting… a whole arsenal to capture your day perfectly. 2️⃣ Stress Factor: The intensity and emotional stakes of a wedding day are sky-high compared to a casual family shoot. Every shot is crucial, and there’s no do-over. 3️⃣ Planning Depth: Weddings require detailed planning sessions. We’re not just capturing moments; we’re creating a visual storybook of your special day. 🤔 So, next time you see wedding services priced higher, remember the extra love, labor, and logistics that go into making your day unforgettable! #WeddingPhotography #weddingcost #weddingstorytime #arkansasweddingphotographer #photographer ♬ Funny – Gold-Tiger

“I just can’t believe that! What about the bride? What is she going to think about this?” a furious Gloria tells the photographer.

Gloria then asks Herrington how much it will cost to shoot the wedding with her basic camera gear as the bride will be “so mad” about this. The photographer says it is double the cost of a family shoot.

Gloria says she can’t afford that price and asks Herrington for a refund. However, the photographer says she can’t refund her as she traveled one hour to get to the venue in “busy season” and there is a clause on cancellation in their contract.

In a caption to her second video, Herrington explained to viewers why there is a “crazy markup” in terms of costs for wedding photography.

The photographer says that wedding photography involves far more camera gear than a family shoot — including “multiple lenses, backup cameras, special lighting, a whole arsenal to capture your day perfectly.”

Herrington also explains that the “stress factor” is far more acute with wedding photography as there is no opportunity for a “do-over” with the big day.

The photographer adds that weddings require “detailed planning sessions” with the bride and groom beforehand.

Image credits: Header photo licensed via Depositphotos.

Introduction

Ease of Use

The Leica Q3 has exactly the same 60 megapixel full-frame BSI (BackSide-Illuminated) CMOS sensor that was initially developed especially for the flagship M11 rangefinder camera, which offers a 21% increase on the resolution offered by 2019’s 47.3 megapixel Q2 model.

In conjunction with the brand new Maestro IV image processor, this allows the Q3 to output 14-bit raw files with a claimed dynamic range of up to 14 stops, provide an extensive ISO range of 50-100,000, and shoot 60 megapixel images at 4fps with continuous AF/AE.

It also has a special IR + UV cut filter in front of the sensor which corrects even the most oblique rays of incident light and a new colour filter array that offers more natural colour reproduction than previous Q-system cameras.

Whilst 60 megapixels will undoubtedly be a big draw for potential owners of this camera, Leica have also sensibly provided two smaller 36 and 18 megapixel modes which help avoid some of the processing and storage challenges of the the 60 megapixel mode while also boosting the burst shooting buffer times.

So the Q3 can be set to record 60, 36 or 18 megapixels DNG Raw images with 14-bit color and 14-stop dynamic range using the full sensor area, something that Leica are calling “Triple Resolution Technology”.

The Leica Q3 has a fixed, as opposed to removable, lens. The 28mm focal length provided is all-encompassing and makes this camera particularly suitable for landscape and travelogue photography.

A straightforward and clearly marked macro setting on the lens barrel allows subjects as close as 17cm to be captured, while otherwise the minimum focusing distance is a regular 30cm. The manually selectable aperture range extends from f/1.7 up to f/16 with an automatic setting provided too.

This is coupled with a bright/fast f/1.7 aperture to allow for lower light shooting hand-held. As the lens is fairly wide the user is naturally prompted to get quite close to their subjects if they want them to fill the frame, or the majority of it, to really make the most of the ‘bokeh’ opportunities offered by that maximum aperture.

Leica has additionally provided a screw-on/screw off lens hood, should you wish to use it as an additional aid to preventing lens flare, or avoid unwanted artifacts in brighter conditions. There’s also a thread on the front for traditional 49mm glass filters.

Incidentally, the lens and aperture provided here is exactly the same as that of the 2015 ‘Q’ and the 2019 ‘Q’ – Leica hasn’t chosen to throw the baby out of the bathwater and has retained what it says proved popular with regard to the 8-year-old original model

Impressively the lens is optically stabilized, a surprising feature given the wide-angle, full-frame nature of the lens, which coupled with the impressive noise performance at high ISOs makes it very easy to hand-hold the Q3 in less than perfect lighting conditions and still achieve pin-sharp results.

In addition to the 28mm optical focal length, the Q3 provides four different crop modes that simulate longer focal lengths.

At the press of the small unmarked button next to the rear thumbgrip on the rear of the camera, you can switch to 35mm, 50mm, 75mm and a brand new 90mm crop mode, with a rectangular overlay displayed to help with composition.

The 35mm equivalent crop provides 39 megapixels resolution, the 50mm crop 19 megapixels, the 75mm crop 8 megapixels and the 95mm crop 6 megapixels.

These digital crops are only applied to the JPEG files, with a full-size 60 megapixel DNG Raw file also recorded at the same time.

As the camera is cropping into the full-size image, rather than interpolating up a la most digital zooms, there’s no degradation of the image quality, just a reduction in the megapixel count.

You could of course apply similar crops yourself during post-processing, but providing them in-camera has the main added benefit of making composition much easier and more intuitive whilst also saving on memory card space.

The 35mm and 50mm crop modes proved to be genuinely useful, effectively giving you a 28-50mm focal range that’s easy to use whilst still offering enough resolution.

The 75mm and 90mm modes are harder to use due to the tiny are of the frame that’s made available for composition – the camera really needs to provide higher magnification when using these modes – and also the sub-10 megapixel resolution images that are recorded.

There is no built-in flash provided on the Leica Q3, although there is a provided hotshoe for the addition of flash, should that be required.

As you’d probably expect of a Leica camera, manual focusing on the Q3 is a veritable joy, although the means of switching between AF and MF is quite subtle and initially well hidden.

Switching to manual focus occurs via a fingernail press of the so tiny you’ll miss it lever on the lens itself, that in turn allows the lens ring to move (it’s ‘stuck’ in place in auto mode) and manual distance markings on said barrel to be selected, whereby the camera provides the user with an enlarged portion of the subject on-screen, allowing focus to be more critically determined.

Auto-focusing on this new Q-series camera has taken a big leap forwards, as it now incorporates a hybrid AF system that includes phase detection as well as contrast detection pixels., providing higher speed (5x faster than the Q2) and greater precision when focusing and tracking objects.

Interestingly, it additionally employs Panasonic’s depth from defocus system to build up a depth map of the scene to further enhance the AF.

In another first for the Q-series and Leica cameras in general, the Q3 benefits greatly from the addition of intelligent subject recognition.

It’s a pretty simple system by modern standards that only recognises the eyes, faces and bodies of people plus animals, with two rather confusing options buried at the bottom of the AF Mode menu – the first option is Eye/face/Body Detection and the second is Eye/Face/Body + Animal Detection (why isn’t animal detection separate?) – but at least it’s a good start that works well in practice.

Leica camera have never been particularly renowned for their blistering continuous shooting rates, and the Q3 is certainly no exception to that rule.

While on paper it offers up to 15fps bursts, the reality is that the focus and exposure are locked at the first frame until you drop down to a rather more pedestrian 4fps. The buffer is at least 63 shots in RAW, though, so you can at least shoot for a long time at 4fps before that rate slows down.

Some photographers may also argue that 4fps is more than fast enough for a street camera with a 28mm lens, especially as the excellent autofocus system can be employed at the same time.

The Q3 has both a mechanical shutter that provides speeds between 120sec to 1/2000sec and an electronic shutter that runs from 1sec to 1/16000sec, with a Hybrid option also available that automatically switches between them. Flash synchronization is up to 1/200sec.

This isn’t just a camera for stills, as Leica have included 8K video recording for the first time ever on any of their models. DCI 8K recording is supported at up to 30p with 4:2:0 10-bit color when recording internally or at 8-bit when recording externally via the micro-HDMI port.

If you only need 4K recording, that’s provided at up to 60p with 4:2:2 10-bit color internally or externally, while Full HD runs up to 120p for slow motion playback.

Other key video features include ProRes recording at 1080/60p, Leica’s L-log profile, and LUT compatibility. The Q3 doesn’t have a microphone socket, though, instead relying on its new USB-C port to allow an audio input.

This new port can also be used to charge the camera via a powerbank, useful for extending the battery life when out and about. Talking of which, the Q3 uses a new battery, the BP-SCL6, which has a CIPA-rated lifespan of 350 shots per charge. The Q3 is also still compatible with the BP-SCL4 battery that was used in the Q2.

The electronic viewfinder that sits in the corner of the camera has also received a significant upgrade, with the resolution being bumped up from 3.68 megapixels on the Q2 to 5.76 on the Q3. It has a 0.79x magnification and either a battery-conserving 60fps or a smooth 120fps refresh rate for more realistic motion rendering.

Another important feature that we’ve not seen before on a Leica camera is the newly tilting 3-inch LCD touchscreen. This can now be moved both upwards and downwards to suit working from a variety of shooting positions, rather than fixed in place as on the previous Q models, which makes waist-level and overhead shooting much easier.

The resolution has also been increased significantly from 1.04M dots on the Q2 to 1.84M dots on the Q3.

The new screen does rather spoil the aesthetics of the Q3, however, as it juts out slightly from the rear of the camera, interrupting the smooth lines. Still, this is first and foremost a photographic tool, rather than an expensive ornament, so we can overlook this slight faux pas on Leica’s part.

It has also necessitated a restructuring of the controls on the rear of the camera. Instead of the vertical row of three buttons to the left of the LCD screen, as per the Q2, the Play and Menu buttons have been moved to above and below the D-pad respectively, with the customisable Function button moving alongside the Photo/Video button.

The other external change is the shutter button is now threaded to accept a mechanical cable release. Otherwise, the incoming Q3 is virtually identical to the outgoing Q2 in terms of its design and control layout, so make sure to check out our Leica Q2 review for a full run-down of how it operates.

The final major innovation on the new Q3 is the HGF-DC1 Wireless Charging Handgrip, an optional accessory that when fitted facilitates wireless battery charging via Qi-compatible charging mats, just like the Drop XL Wireless Charger that Native Union has made especially for Leica. We didn’t get to try one out, but it certainly sounds intriguing!

Image Quality

All of the sample images in this review were taken using the 60 megapixel Large setting, which produces an average image size of around 20Mb for JPEGs and 85Mb for RAW files.

The Leica Q3 recorded still images of excellent quality during the review period.

This camera produces noise-free JPEG images at ISO 50 up to ISO 3200, with some noise appearing at ISO 6400. The faster settings of ISO 12500 through to 25000 are still usable, although we’d suggest avoiding both ISO 50000 and 100000 if at all possible. The corresponding Raw files have much less obvious colour artifacts but are noticeably less sharp than their JPEG equivalents.

The night photograph was very good, with the maximum shutter speed of 60 minutes allowing you to capture enough light in every situation, and the Film Styles, although limited in number and customisability, do allow you to quickly change the look of JPEG files.

Noise

ISO sensitivity can be set between ISO 64 and ISO 100,000 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.

JPEG	RAW
ISO 50	ISO 50
ISO 100	ISO 100
ISO 200	ISO 200
ISO 400	ISO 400
ISO 800	ISO 800
ISO 1600	ISO 1600
ISO 3200	ISO 3200
ISO 6400	ISO 6400
ISO 12500	ISO 12500
ISO 25000	ISO 25000
ISO 50000	ISO 50000
ISO 100000	ISO 100000

Focal Range

The Leica Q3’s lens provides a focal length of 28mm in 35mm terms, as demonstrated below.

Macro

The Leica Q3 offers a Macro setting that allows you to focus on a subject that is 17cms / 6.7″ away from the camera.

Night

The Leica Q3’s maximum shutter speed is 60 seconds in the Manual mode, which is great news if you’re seriously interested in night photography.

Intelligent Dynamic Range (iDR)

The new Intelligent Dynamic Range function allows an optimization of the darker areas in a JPEG image, with object details become much clearer. There are three different available strengths, Low, Standard and High, plus Auto and Off settings.

Off

Low

Standard

High

Auto

Film Styles

Leica’s Film Styles are preset combinations of different sharpness, contrast and saturation settings, for JPEGs only. The Leica M11’s five available Film Styles are shown below in the following series, which demonstrates the differences between them. You can also tweak the preset styles so that you can create your own particular look, although you can’t create brand new ones.

Standard

Vivid

Natural

Monochrome

Monochrome High Contrast

Sample Images

This is a selection of sample images from the Leica Q3 camera, which were all taken using the 60 megapixel Large JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample RAW Images

The Leica Q3 enables users to capture RAW and JPEG format files. We’ve provided some Leica RAW (DNG) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

Product Images

Conclusion

Leica are the last manufacturer standing when it comes to making high-end premium fixed-lens compact cameras for enthusiasts and professionals – and if that sounds like a product niche, it’s because it most certainly is – but thankfully they haven’t rested on their laurels with the new Q3 despite the lack of competition.

In true Leica fashion, this new version of the 4 year old previous model represents an evolution rather than revolution, but the additions and changes that have been made genuinely improve on what was already a very good camera.

Chief amongst these is not the 60 megapixel resolution or 8K video which will surely garner most of the headlines, rather the incorporation of the tilting LCD screen and higher-res EVF that add a lot to the cameras handling and versatility, and especially the vastly improved auto-focus system which along with the already spotless manual focusing makes the Q3 a joy to use.

Modern seamlessly meets traditional with the Leica Q3, which somehow manages to avoid being a hodge-podge of old and new ideas to create a camera that offers the best of both worlds.

Traditionalists will still find plenty to enjoy here, including the frankly frightening attention to detail and impeccable build quality, but if you’re a fan of more modern cameras who always been turned off by Leica’s approach, the Q3 is by far the most likely offering to change your mind.

That is, if you can afford the Leica price of admission, which at £5,300 / $5,995 is both significantly higher than the Q2’s launch price (£4250 / $4995) and high enough to put most users off. The best advice that we can give is probably to rent one and try it out for yourself before splashing out all that cash.

Most people will look at the price-tag, roll their eyes and instantly dismiss the Q3, but we think you owe it to yourself to at least take it for a test-drive, if only to experience the unique Leica approach to making a modern yet still traditional camera.

Main Rivals

Listed below are some of the rivals of the Leica Q3.

Review Roundup

Reviews of the Leica Q3 from around the web.

Specifications

Your Comments

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It was, as a 16-year-old pursuing a foundation course in arts, design, and communication in Australia that Anushka stumbled upon a photography module and, in turn, realised the power of image-making. Anushka (39)—born in the Indian capital but raised in Muscat—learnt not just the nuances but also the range and scale of the art form in a two-year professional course in collaboration with the International College of Professional Photography (ICPP), Australia, at a Delhi-based college in 2003. While her love for fashion photography developed during this time, her first paid job, she recalls, was with an Indian magazine that onboarded her to shoot the profile of a leading Delhi-based bakery’s owner. “By the time I graduated, I connected with models and designers and was soon working on lookbooks, campaigns, editorials, etc.”

In a male-dominated industry such as fashion photography, there is a tight frame of challenges that the opposite gender faces, and Anushka (she moved to Goa from Delhi in 2016 and is now juggling two of her passions, music and photography, as part-time professions) mentions confronting a few and more. “Initially, language was a barrier for me since I would mostly communicate in English. Also, working with an all-male team can come about with its own set of complications—some people don’t take you seriously or don’t want to take orders from a woman. Of course, there were others who were great…they recognised my talent. I also found a team that supported me—I still have the same team I had 15 years ago,” she adds. The business side of things wasn’t easy for her either: “I had to spend my own money to create a portfolio.”

There is no rubric one can follow to be successful. Gender, however, can have a direct or indirect impact on personal progress no matter the industry. “The pros and cons when I started exist even today, probably subtler now,” shares Anushka. In hindsight, Anushka (she is one of the two female Fujifilm ‘X’ Ambassadors from India) adds that women do have an added advantage given the female gaze: “Women have a natural instinct and different approach to shooting—how we converse with subjects and the way we view them is different from male photographers. I also feel females shoot females better.”

Was it difficult to work with creatives who were on the higher rungs of success? “When I started out, I wanted to be guided by someone with experience. I approached at least five or six photographers in Delhi, and later in Mumbai, but was rejected by them all. While it was a challenge, it also motivated me to learn the ropes by myself. I don’t know why I wasn’t taken on board; maybe they thought I wasn’t strong enough to carry equipment—though small, I was strong (laughs); maybe they thought I’d no potential; or were intimidated. It took me a few years to prove my worth. Now, the same photographers tell me what a great job I’ve done.” Ask her if there’s a set formula for female photographers looking to break into the field, and she concludes, “Hopefully you have the support of your family or financial support as it’s an expensive profession. To create your own space, remember to be authentic. Seek help because there are people out there, including myself, who are happy to mentor. You must also know the business side of things; enrol in a course to be familiar with how things work. But the rest you learn as you go along. I encourage people to follow their dreams irrespective of what they want to become.”

A photographer was made to wait for four years to capture a perfect sunburst shot of an iconic landmark.

The Sun only lines up behind Durdle Door on the southern coast of the United Kingdom for two to three weeks each year and photographer Jack Lodge has been left disappointed many times before.

“I’ve tried in the past and it’s just not happened,” Lodge tells PetaPixel. “I’ve got a little bit of a sunstar and it’s not been great, even with clear skies. And then other times you drive for an hour, walk for an hour, and it’s like, really? The forecast said it was clear. So it’s a constant battle.”

But last week it all came together for Lodge as he pulled off a glorious photo of Durdle Door — a natural limestone arch on the Jurassic Coast in Dorset, England.

To make it more difficult, the Sun only lines up behind Durdle Door for less than five minutes each day meaning Lodge had to wake up at 05:00 to get there in time, dragging all of his gear to the secluded location.

Lodge uses a Canon R5 for its high megapixel count because he does “really big prints and loads of cropping.” He used an RF 15-35mm f/2.8 with the setup placed on a tripod which is a must because the waves were swashing around his legs.

“It was taken at 10 past eight in the morning and it was shot at 1/20th of a second, at f/22, ISO 100,” Lodge adds.

The slow shutter speed means the waves have a touch of motion blur adding to the beauty of the picture.

Lodge describes the reaction as “nuts” and “amazing.” The photos received tens of thousands of likes on his Instagram page and although the sunstar photo is a winner, the photographer prefers the picture he got of a soft ethereal-like glow coming through Durdle Door.

“I think it’s harder to get than the one with the star,” says Lodge. “That’s my personal favorite because it’s so cold and the warm light just created this mist.

“The light on the sand as well, it makes it look like glass. So yeah, that one was more special for me, but they’re both awesome; it’s been cool to see everyone’s reactions to both.”

Lodge is a professional landscape photographer who operates photography courses. More of his work can be found on his Instagram, Facebook, and website.

Image credits: Photographs by Jack Lodge