Member David Farkas

Hi and thanks for your useful article above. I downloaded the firmware update for D-Lux 7.
Name of the zipped file : DLX7_V20.bin

Which I cannot open on my Macbook.

What to do?

Once this is solved (I hope) can I copy the firmware to my existing SD card with images? On that card I have two folders, one with the images and one named private. Shall I use the private one? Or create a new folder? What is actually meant with “Top Level Folder”? Finally, can I copy the firmware to the SD care when I have the D-Lux connected to my Macbook?

Cheers/Per

The firmware file needs to be placed at the top level (also known as the root directory) of the SD card, not inside the DCIM folder. If it's inside any folder, the camera can't see it.

No. The firmware is specific to each model.

Yes, you can reformat the card to remove the firmware file.

I explained this in the methodology section on resolution. Basically, in order to show the most apples-to-apples comparison between the three M cameras for a given output size, I downrezzed the M10M from 41 to 24MP. For the direct two-way match-up against the M246, I did use the native 41MP. This allows an for an evaluation both output-limited and at absolute resolution.

While ISO 6400 is the optimal balance of sensitivity and noise on the SL2, I feel that ISO 12500 is also perfectly usable when necessary. Remember, the SL2 still offers more detail resolution and access to native SL glass, which are superior to M lenses across the board. Even the incredible 50mm APO-Summicron-M I used for this test was outresolved by the 50mm APO-Summicron-SL. I didn't included these results as I didn't want to introduce even more variables into the mix. The in-body image stabilization on the SL2 is a revelation and has negated much of the need to venture into the super high ISO settings anyway, at least in my shooting with the camera over the last several months. The SL2 as a platform overall makes it a far better tool for my landscape photography. Weather sealing, ruggedness, optics choices, OLED EVF, 4K60 pro-level video, IBIS, etc. And ultimately, even with twice the number of pixels, the SL2 is only slightly behind the M10-P in this test.

While the SL2 may look a little out of its league next to the M10 Monochrom, I think that has more to do with the M10M being so far superior in low light capability than any of the other very capable cameras in this roundup. Your setup of the SL2 and the M10M is really the best of both worlds. Extreme detail and flexible performance in color with the SL2. Ultimate low light champ in B&W with the M10M. As my colleague Josh said in one of our recent livestreams, we are truly spoiled for choice.

As far as blowing highlights, our suggestion on all modern digital cameras is to expose for the highlights and pull up the shadows in post. You will always get a better result this way. The old days of ETTR (expose to the right) are simply not valid anymore with cameras that offer 14-15 stops of dynamic range and excellent SNR.

I guess I'll hold up to my M246. That beautiful beast!

Thanks for the feedback.

Just for fun, I did shoot a sequence with the SL2 and 50mm APO-Summicron-SL which testing. Ultimately, I didn't feel it fair to include for a couple reasons. First, the effective focal length of the M and SL lenses aren't the same. And second, the SL lens was visibly sharper. Yes, than the 50 APO-M. Using the same lens for all cameras, from the same distance, allowed me to isolate the independent variables – namely the individual cameras/sensors.

To your answer your question though, no, the lens wouldn't have an impact on noise at a given ISO setting. This is sensor dependent. Sure, the SL lens would result in slightly more detail resolution, but that wasn't the ultimate test here.

Glad you found it useful. The M10 put up a really impressive performance here. If you don't want the extra resolution, or need to shoot over ISO 10000, the M10 is certainly capable even in B&W. Lenses are never a bad investment, affording you added visual flexibility in your toolbox. And the Q2 is just fun, providing that extra resolution if needed, along with the ease of autofocus.

Have you tried out SilverFX? You can select different classic film types and it applies a look, including grain profile.

I wasn't really testing for banding, as this is often a function of pushing the shadows. Very often banding can be mitigated by pulling the blacks down.

I'd encourage you to download the full images and take a look in the shadow areas of the dark background.

Haha. Next time I'll try to shoot something other than Italian food.

That's a TON of work, David. Thanks for the information.

The M246 is still awesome in 2020. No doubt.

I'd point you to the SL2 comparisons. The SL2 and Q2 share a very similar sensor architecture and the same resolution. I think you'll find they respond quite similarly.

My pleasure.

Jim,

Don't be shy of venturing up into the higher ISOs of the M10 Monochrom. As someone who rarely shot anything faster than ISO 200 in my film days, it took me quite a while to get comfortable with the idea of a totally usable ISO 32000. But now I can't go back. 🙂

Perfect. So glad it was helpful. If you need help deciding, let us know.

While I didn't test in the dark, I did need to make sure that the single light source was low enough to get a proper exposure at ISO 100000, but not so dark that I ended up needing dark frame subtraction (LENR) at base ISO of 50 on the SL2. Quite the exposure puzzle. And as I pointed out in the article, I did use a studio LED light with a CRI of 97+. I think that perhaps the difference of good light vs. bad light might have more to do with the favorable CRI more so than a higher lux value. So, yeah, I used good light. On a tripod. With self timer. Shooting a 50 APO-Cron ASPH at f/8. These all add up to ideal conditions.

David,
This was great and very informative. You definitely outdid yourself on this one. This helped with some questions I had about M10M and SL2.

Mark

Great points, David!

You're still getting better quality at ISO 3200 and 6400 with the Monochrom. And less noise does result in smoother, more detailed tonal gradations. Download the full image sequences and look at the gradient background. Also, I had to work to get the color images to match the Monochrom ones, and still couldn't get 100% there.

Good observations and summary!

Fora 75mm, I'd either go for the 75 APO-Summicron if you want small size, or for the 57 Noctilux if you want ultimate performance. Personally, I'd stay away from the 75 Summilux. It's just not in the same league and I don't think would be ideal for the high megapixel M10M or SL2…. unless you want the vintage lens for its not-so-sharp glowy-ness. If you're considering the Lux, the Noct really isn't that much larger or heavier.

Very comprehensive test suite. Thanks for providing this. After considering all this I'm left with the same feeling I've had all along about converting color images to b&w… it's OK to do this when you have no other options. However if you truly want to shoot b&w (or in the case of Leica's Monochrom cameras in gray scale) then buy the appropriate tool and have at it. When you buy the best you only cry once.

In theory, the M10M should provide superior tonal transitions, but I will leave it to the viewer to determine by how much. Of course, with so much better noise suppression, you will already get smoother tonality and gradation at any given ISO. At base ISO, this isn't as visible. Please download the full files and take a look at the gradient background at different settings. This and other areas of the test image will certain demonstrate this advantage.

Interesting idea. Back in the day, we'd use LAB space and drop the AB chrominance channels, while keeping the L luminance channel. For this test, my goal was to show “normal” processing in Lightroom. Also, if you drop the red and blue channels, you wouldn't be able to use the Black and White Mix (channel mixer) to fine tune color-tone mapping.

While I didn't test specifically for this and applied the same basic tone to all images, I would imagine that the M10 Monochrom will provide for more shadow recovery than the other cameras. We can base this on the rate of increase of noise as ISO ramps up. The M10M sees very little degradation over most of its ISO range. That tells me that a fair amount of gain could be applied to the shadows and the equivalent ISO based on gain will still be extremely clean.

Great Job!
I’m new here.
Just bought my second hand M246 and your review confirmed my choice…
Thank you very much.
Marcello

Hi David

Thank you very much for your very insightful review. Let me commend you for an outstanding report.

I was blown away by your following statement: “The M10 Monochrom, on the other hand, has allowed me to shoot at 1/500th of a second, under almost any lighting condition, taking a completely different approach to eliminating camera shake. With the M10 Monochrom, you simply don’t need to ever worry about ISO.”

I, probably like most digital Leica M user, have always shot using aperture priority by setting my M10-D on auto shutter speed and auto ISO. Rarely have I felt the need to manually change the shutter speed.

This revelation about the M10M meant I can shoot at shutter speed priority by setting my shutter speed at 1/500 second for example and then let the camera figure out ISO automatically provided I have specified a maximum ISO of say 32,000. That's not usually an approach favoured by Leica M user.

This is very interesting indeed. Thanks again mate!

If I missed this out of carelessness I apologize, but I am interested in throwing M10 P with monochrome “on” in the menus. Any thoughts on that? As I own it, it would be the “best price” for me!

If you really want to simplify, I'd suggest just going for an M10 or M10-P. You'd get dramatically better image quality and usable ISO range verses both your M9 and the Nikon DF. As you can see from the testing, the M10-P is extremely capable for B&W work and it excels at color. You can set the picture style to Monochrom and still get full color RAW files. Best of both in a single camera solution with one set of lenses.

Moving up from the M9M to the M10M will be a massive upgrade. Enjoy!

Haha. Yes, who doesn't love Italian cuisine!

This review is EXACTLY what i needed. I currently own the M10P and SL2 and have been SO tempted by the M10 Mono, but now I feel much better about what I can expect by making the switch, if i decide to do so. Can never have enough Leica, that's the problem.

Hi thank you for your very comprehensive and educational tests (and videos). You and Josh are doing a terrific job in educating us in everything Leica… and probably making us spend more on Leica equipment than we originally expected to. Your videos and reviews comforted me in my decision to get an M10 monochrome (that I have been using for 4 1/2 months now) and in my observations that 1-I definitely had to expose for the highlights because they get blown out easily if the camera is set for a regular exposure (versus a -1 or -2 compensation—thank you for carefully explaining why) 2-there is a lot to be recovered from the shadows (so, yes, good latitude exposure as long as one takes care of the details in the highlights) 3-using high ISO with this camera is pretty amazing (I started with film decades ago (M2, M3, M6…) and was reluctant to go past 3200 ISO (old stupid habits!) … but I am past that thanks to your example and reviews! I am even considering auto ISO more frequently which is another change you generated!. By the way I would also like to thank Josh for his recommendation of the 50 mm summarit that I have been really enjoying for the past 6 months: I love its sharpness, compactness (including its lens-shade). Finally any advice regarding the way the M10 mono renders B&W (presets?) as I am starting to get the results I want/need (pre-visualization included) but it took some time and there is still room for improvement (especially compared to your selection of examples). Best,