Member Peter Dooling

There has been a lot of excitement at the show around Leica’s two new compact cameras, the Leica D-Lux (Typ 109) and the Leica V-Lux (Typ 114). Admittedly, there is tons of excitement around pretty much all of Leica’s 20-something new products presented here at Photokina, but for these two cameras we are seeing perhaps the largest upgrade from their predecessors. Both cameras have gotten major heart transplants, sporting sensors much larger than we usually see in cameras of this size.

I’ve used almost every generation of D-Lux and V-Lux and they have always been very capable cameras, offering great features, easy operation, lasting value and, above all else, great image quality. The new D-Lux and V-Lux cameras have raised the bar way, way higher with regards to absolute image quality, ease of operation and feature set.

I spoke with the product manager for these compact cameras, Peter Kruschewski, to gain a little more insight and take a closer look at these new models.

D-Lux (Typ 109)

The new D-Lux has a heft that belies its size. Pick it up and immediately you know this isn’t a plastic fantastic point and shoot. Rather than the half plastic/half metal build of the D-Lux 6, the new Typ 109 features an all-aluminum construction that is as durable as it is sleek. Even with its small form factor, the camera conforms nicely in the hand and has a little rubber thumb pad for extra grip. Multi-selector mode dials and the like are now replaced with direct exposure controls like shutter speed and exposure compensation dials on the top plate, with aperture and focus rings on the lens. The dials have solid detents and the focus ring is smoothly damped, giving a nice analog-type feel. Peter explained that the M-like control layout was a direct effort to make this generation of D-Lux (the 7th!) the truest to Leica DNA yet. And, I think on this front, Leica has succeeded. Straightforward controls have always been a hallmark of Leica.

The 12.8 MP micro 4/3 sensor in the D-Lux is 5x larger than the 1/1.7” sensor used in the D-Lux 6. To put this in perspective, Leica’s top of the line S System has a sensor that is 60% larger than full frame 35mm. The quality differences between the S and even the excellent M 240 (a full frame model) are readily apparent. The D-Lux’s chip is now 500% percent bigger. This is a really big deal.

The two main advantages that a larger sensor will bring is improved low light performance and more creative freedom by allowing more depth of field control. Pictures will look more three dimensional with foreground subjects popping off the background. And, rather than struggling to take a clear picture at ISO 800 like on most compact cameras, I’m told this new model will excel at ISO 6400. Of course, if you want to see how far you can take low-light shooting, there are settings all the way up to 25,600.

Along with a larger sensor, you usually need a bigger lens. Somehow, the optical engineers at Leica have managed to keep the size of the lens down while still offering a great focal length range of 24-75mm (equiv) and very generous maximum aperture of f/1.7 – 2.8. According to Peter, yes, some sacrifices had to be made in lens design, such as limiting the long end of the range to 75mm vs. 90mm and going to f/1.7 rather than f/1.4. The goal was to keep the quality level and specs as high as possible, while keeping the size to a minimum. And, even though the DC Vario Summilux lens is larger on the Typ 109, it matches up quite nicely with the slightly beefier body. For those using filters, the D-Lux now accepts an E43 filter size, the same as used with the X Vario and the new X Typ 113.

Also making its way to a D-Lux camera for the first time is a built-in, high resolution 2.8MP EVF. The EVF activates automatically when you place it up to your eye. A built-in finder has been requested by customers for some time, and now, Leica has found a way to incorporate it. Peter thinks that the built-in EVF is a defining feature of the Typ 109, and was extremely pleased that they were able to physically fit in to the camera, especially considering its compact size and other component requirements. Looking through the EVF is a real treat. Clear and bright with a fast refresh, this viewfinder is top rate with class-leading resolution and clarity.

Of course, not everything was able to be fit in the new body. Perhaps because there was just no more space inside the packed chassis, or maybe to make the camera more system-like, there is no built-in pop-up flash. Instead, a small CF D hot-shoe mounted flash is provided with the camera. It’s cute and reminds me a little bit of the old single-use cube flashes, but it’s not made of clear plastic nor is it single use. You needn’t worry about batteries; the flash is powered by the camera. The other reasoning for omitting a built-in flash is that with such great low light performance and a fast f/1.7 lens, there are very few situations that you might actually need a small flash.

Included CF D flash

Included CF D flash

Included CF D flash

For video enthusiasts, there’s a lot to love. The D-Lux brings 4K video to the table with high-quality encoding up to 100 Mb/s. The 4K video area is slightly cropped from the full frame as it is 1:1 pixels for maximum quality with no down sampling. The active area isn’t too much smaller, so the resulting lens factor is about 1.5x, meaning that your 24mm wide angle turns to roughly a 35mm and 75mm at the long end goes to about 100mm. All-in-all, not a bad trade-off if 4K is your thing.

Menu option for extracting 8MP stills out of 4K video

For remote camera control, instant review and image sharing, you can connect to your phone or tablet with WiFi. A new feature is that by using a phone with NFC (Near Field Communications), the camera and the phone will take care of setting up the correct WiFi settings for you. Very cool feature.

Rounding out some of the new features is focus peaking, visible on screen or in the EVF and a new high speed shutter setting, which takes the fastest shutter speed from 1/4000 sec on the D-Lux 6 to a crazy fast 1/16,000 sec by way of a new high-speed electronic shutter. And while you may not be able to freeze the flight of a bullet through an apple, you won’t need an ND filter to shoot wide-open at f/1.7, even on the sunniest of days.

One last note, for those upgrading to the new D-Lux, please note that the battery is not the same. Due to the increased power needs of the larger sensor, a new high-capacity battery, the BP-DC15-U is now required.

V-Lux (Typ 114)

The V-Lux has seen some pretty sizeable upgrading as well. The sensor has also gotten a sizeable boost both in terms of physical size and resolution, now sporting a 1” 20 MP CMOS chip. While not quite as large as the micro 4/3 sensor in the new D-Lux, the V-Lux’s 1” chip is 5x larger than that used in the V-Lux 4 and should see the same relative performance improvements found in the D-Lux, like better subject separation and improved low-light capabilities.

Peter called the new Typ 114 the “Swiss Army Knife of digital cameras.” He doesn’t seem too far off the mark here. In spite of the huge increase in sensor size, the V-Lux still boasts a 25-400mm f/2.8-4 zoom with image stabilization and incredibly fast autofocus. And I mean really fast. It used to be accepted that for sports you really needed a DSLR with a long zoom to capture action, and that a compact all-in-one camera fell short. Not so with the V-Lux. The AF is smoking fast, able to move that big lens from 2m to infinity in a blink of an eye (if said blink took 0.2 seconds). The camera can shoot at a blazingly quick 12 fps and, just like the D-Lux, now has shutter speeds up to 1/16,000 sec.

And, with 4K video on board, you can shoot even faster if you need to. Because each frame of 4K video weighs in at 8MP, and because you can capture 30 frames of this resolution every second, a new technique for action is to pull still frames from high resolution video. On FullHD, each frame is only 2MP, hardly enough for anything but online use. But, with 8MP, even prints like 16×20” can be expected. And, because the capture size is smaller than the full sensor, you can get an effective 600mm focal length for these action sequences. Of course, this technique isn’t without trade-offs. You’ll be giving up RAW which will limit your post-processing options and you won’t get the full 20MP image. But, if you really want to catch a cheetah bounding across the plain while on safari, it’s worth at least trying.

With the bigger sensor, low-light performance should be improved and as such, the ISO range has been expanded from a 3200 max up to 12,800. My guess is that optimum maximum ISO will be somewhere in the 1600 – 3200 range.

The V-Lux does have a pop-up flash

While the V-Lux 4 featured a built-in EVF and a rear LCD, both have gotten nice upgrades. The EVF is now a 2.4MP OLED type and the screen gets a full 920K pixel resolution, same as the D-Lux. Both are crystal clear with smooth and fluid live view. And, just like the D-Lux, focus peaking is an option for manual focus assistance.

And, just like its D-Lux brethren, similar WiFi and NFC can be found here too. All you need is the free Leica app on your iPhone or iPad and you’re off to the races.

Besides just the internal modifications, the new Typ 114 has had more notable changes from V-Lux 4. It is larger but not much heavier. The increased size is need to accommodate the larger sensor and correspondingly larger lens, which now has a front diameter of 55mm. A nice benefit of the thicker lens barrel is the addition of a nice, wide zoom/focus combination ring. There’s a small switch on the side of the lens that allows you to toggle the function easily. The only other switch  on the lens is one to control image stabilization. In fact, this more minimal design carries throughout the camera as there are fewer buttons and switches. The result is most certainly cleaner, more streamlined, and ultimately more modern.

The camera feels very nice to hold. The grip is well-defined and a rubber thumb pad is added for increased ergonomics. Something else you might notice when picking up the camera for the first time is that the EVF/eyecup assembly on top of the camera protrudes from the body and overhangs the rear articulating LCD by at least a good inch. The result is far fewer nose prints on the LCD for the camera and less squished noses for users. Perhaps the most grateful demographic will be left-eyed shooters, who always seem to struggle to find a comfortable viewfinder position.

Simple lens controls: zoom/focus selector for ring and OIS on/off

Overall, the V-Lux (Typ 114) is a very solid evolution from the V-Lux 4. Leica sees it as the perfect camera for vacations, safaris, sports, or just about anything where you need maximum zoom capability with the option of high-speed focus and shooting as well as 4K video.

Unlike the D-Lux, the new V-Lux still takes the same BP-DC12-U battery. So, at least one thing is still the same…

Wrapping up

These two new compact cameras show a direction change for Leica. The under-the-hood improvements are dramatic, much more significant than in any other generational evolution to date, and offer novices and enthusiasts alike so much more bang for their Leica buck. Big sensors, great lenses, high ISO capability, more 3D look, 4K video, WiFi and more, with solid construction and great ergonomics.

These aren’t cheap cameras, by any means, at $1,195 and $1,350 for the D-Lux and V-Lux respectively. But, they are perhaps the best value in the entire range. These models are equally well-suited to first time Leica buyers as they are to veteran M shooters looking to augment their arsenal with something a little smaller, as in the case of the D-Lux, or something with more range and speed like the V-Lux.

I think Leica has done a great job of filling in all the gaps in the product range. C, D, V, X, T, M, S. No small feat for a company that had its early struggles with digital photography not that long ago. Now, there is a system for almost every user and every need, at different price points.

The new compacts should start shipping in November 2014 and are available for immediate pre-order from Leica Store Miami.

Update (Sept 23): Just got word that the first delivery of V-Lux (Typ 114) cameras will be available starting this week! Order here.

With my focus on the M yesterday, I wanted to dedicate my second day at the show to the new Leica S (Typ 007). As the third generation in the S family (I’m not counting the old S1 as it’s a totally different animal), Leica stepped up their game pretty significantly with the S 007. The new S ticks a lot of boxes on users’ wish lists. I got a chance to sit down with Stephan Schulz, Director of Professional Photo Products, and Toni Felsner, Project Manager of the S System to go over all of the changes on the new S.

Lots of interest at the S stand, even from Phase One…

The S 007 isn’t the first…or second or even third…medium format digital camera to transition from a CCD to a CMOS sensor. Hasselblad, Phase One and Pentax all got there first earlier this year by using the 44x33mm 50MP Sony sensor. But, like one of my favorite sayings goes, “The early bird may get the worm, but the second mouse gets the cheese.” The Leica S is now the fastest MFD system in the world, boasting a frame rate of 3.5 FPS, which is blazingly fast thanks to the new Maestro II image processor under the hood and the rapid-fire, lightweight shutter making light work of exposing the new CMOSIS-produced CMOS sensor at the heart of the S.

The camera also is the first to shoot 4K video and use the full width of the sensor to produce 1080p video. It’s got 802.11n Wi-Fi, built-in GPS, UHS-I dual card support, HDMI out, much faster autofocus and focus tracking, USB 3.0, a new and quite large  daylight-viewable transflective top display, 60fps live view with focus peaking, DOF calculations clearly indicated, a whole host of video features and incredibly fast image processing.

Live view controls

Handling the camera is not too different than the S (Typ 006) that I have used extensively. The size and shape are familiar, which is to say, still one of the most comfortable and ergonomic camera bodies I’ve ever used. The camera is built like a rubber-encased tank and has seen upgrades in the durability category in addition to all the under-the-hood changes. The entire lens mount, and not just the mounting ring, is now solid stainless steel. So are the strap lugs. The mount now has a polished sheen of indestructability. The new faster, quieter shutter is now rated at 150,000 actuations, up from the already respectable 100,000 on the S (Typ 006).

While the bulk of the body remains the same, the entire top plate is brand new. The round knob-like GPS nub of the S (Typ 006) is replaced by a black gloss rounded rectangle that sits flush with the top of the camera. At first glance, it looks like a second status screen and seemed somewhat out of place, but it does fit the design quite well after some getting used to. The top status color OLED of the S (Typ 006) is now traded out for a handsome transflective monochrome LCD that is at least double the size. Information is clear and crisp with white lettering against a deep blue background, and the transflective screen, while still having a built-in backlight, actually increases in readability under bright light. The screen is reminiscent of those used in car dashboard displays.

New top transflective LCD

The shutter speed dial is now updated as well. No speed markings grace the dial any longer. The dial is smaller in diameter, has been moved forward towards the front edge and is much easier to turn. The concept is to have multiple functions for this control element and to be easy to turn by your forefinger while gripping the camera. Both were achieved here as I found it easy to use and comfortable to access while shooting. In playback mode, the top dial now controls zoom, with the rear thumb dial taking care of scrolling. This makes playback and review of images much quicker and more intuitive.

The last changes to the top plate are two steel buttons that sit to the right of the large top LCD and behind the top dial. The one with the red dot on it is to activate video recording and the other unmarked button is to turn on live view.

While not readily apparent from looking at the back of the camera, the onscreen GUI has gotten a nice facelift. Leica designers have traded rounded, dark gray selections to a more modern flat design, more similar to what you might see in iOS 7 or Windows 8. The look is clean and readable and functionally perhaps just a little easier to navigate given the improved menu organization. You also can update firmware within the menu without having to power cycle the camera and hold any buttons for x amount of seconds.

New status screen

The battery has gotten its own update. Visibly indistinguishable from its predecessor, the new battery boasts an increase in capacity in order to run the live view and video features of the S 007. The really great news for existing S2 and S 006 owners is that the battery is backwards compatible, meaning you can use it to get even longer battery life. It can be used in the Multifunction Grip, which is unchanged, as well as being charged using the same Pro Charger. Just don’t mix the old and the new battery in the grip. The warning I received about this reminded me a part in the movie Ghostbusters of when Egon warns his comrades about not crossing the streams, so we’ll leave it at that.

Included with the camera is a new piece of hardware, called the Leica Audio Adapter-S. This small dongle attaches to a locking LEMO port on the side of the camera and has three ports, two 3.5mm audio jacks, one for microphone in, the other for audio out, as well as an RCA connector for importing timecode from an external generator.

Audio Adapter S with audio and timecode connections

A lot of focus has been given to providing professional video features in the new S. As I already mentioned, the camera can shoot Digital Cinema 4K and 1080p FullHD. The 4K is actually wider than that used on televisions and computer monitors, measuring 4096 x 2160 pixels. The 4K video is captured at 1:1 on the sensor, meaning that each pixel on the sensor yields one pixel on the final video. So, to this end, the 4K capture area is a cropped section on the larger sensor. While I was pretty excited about the prospect of 4K on such a large sensor, from a quality perspective, this approach is a better one. In 1080p FullHD mode the entire area of the sensor, cropped to 16:9, is used. I imagine video guys everywhere drooling over the prospect of shooting on such a large sensor through the incredible range of S glass. Video can be recorded to either a local CF or SD card, or simultaneously to a computer or recorder via the HDMI port. Output from the HDMI port is limited to 1080p only, as Leica is using HDMI v1.3 which cannot carry 4K signals. The video feed is clean, stripped of any overlays or other information, allowing it to be recorded and ported as necessary. Quality of video should prove to be excellent, whether recorded to card or over HDMI. 4:2:2 sampling is used for best color fidelity and Leica engineers are targeting a bit rate of 50 Mb/s.

Full video rig

Besides video features, the two main focuses of the S product team has been to overcome two of the challenges historically found in medium format digital systems, namely speed and low light performance. The S has seemed to come out on top on both accounts. At 3.5 fps, the S shoots roughly three times faster than a Hasselblad or Phase One camera. This frame rate is possible with the new shutter and with the upgrade to the Maestro II. The first Maestro processor, care of chip maker Fujitsu, was already quite capable, chugging through 160MP/s. It powered the S2, the S 006 and most recently the M (Typ 240). While a specific speed isn’t being disclosed right now, the second generation ASIC chip is on the order of 2.5-3x faster than its predecessor. Along with support for Wi-Fi, USB 3.0, live view, 4K video and a blazingly-fast frame rate, the new processor also boasts improved image performance and enhanced in-camera RAW noise reduction. This goes to address the second goal, low light performance. Even though the sensor architecture is roughly the same as the one used in the M 240, these improved algorithms and image processing will result in even less noise at equivalent ISOs to the M. We are talking about very good and usable full res ISO 6400! The S is no longer relegated to being used in full light or being confined to a tripod. Coupled with the 30-90mm Vario lens, this beast could easily serve as a general purpose shooter, with similar handling and capabilities to that of a pro 35mm DSLR, but offering the advantages of medium format with a sensor area 60% larger.

High ISO range? Yes, please.

Along the same lines of speed comes an entirely redesigned AF system. While still featuring a single cross-type sensor in the center of the frame rather than a few closely spaced points, the already good AF speed and accuracy is now improved by a full 50% increase in both. This is not a small incremental bump, but rather feels totally different. I tried it out and even the previously mediocre AFc tracking mode is really good now. I’m told that it can easily track a subject walking or jogging toward the camera, even in the close range. And, you don’t even need to buy a new S 007 to take advantage of the speed increase.

Here’s how it works. In the old system, the AF sensor when activated would tell the motor to start moving towards the target distance. When it reached that point, the AF sensor would measure again, then start the motor again to adjust for precision, and repeat as necessary until 100% perfect. But this starting and stopping proves to be a little inefficient.

In the new system, the AF module stays active during the entire travel of the lens, constantly measuring and providing real-time instructions to the focus motor. Also new is the ability to finely vary the speed of the motor, slowing down and starting up gradually to minimize any jerkiness and increase movement efficiency. Apparently, the hardware to control motor speed through pulse width modulation and maintain AF measurements throughout the range have been there since the S 006, just not the software. So the new firmware just released for the S 006 upgrades the AF to the new standard. Unfortunately, given the hardware differences, the S2 cannot take advantage of this. Leica’s been doing a fantastic job providing ongoing support and expanding functionality for existing customers.

Also included as part of that AF package is a faster time to shoot. In AFs mode, when you press the shutter, the mirror actually starts to move before the lens motor has fully stopped. The system knows where the point of focus will be and will continue to finalize focus while the mechanical exposure sequence starts. This leads to a feeling of much more responsiveness.

Another huge item is live view functionality. With a 60 fps refresh rate off the sensor, live view looks amazing. Clear, bright and fluid. Unlike the M 240 or the T, which only allow for zooming in to the center of the image, the S 007 allows you to pan anywhere in the image at 100% view. And, you can use a spot cursor to use contrast detect AF anywhere in the image which in live view. There is also focus peaking and the focus spot can be combined with the spot meter to meter anywhere in the frame as well. Very nice implementation.

Spot AF and spot metering in live view

Like the T, the S can now use the Leica Shuttle app for iPhone or iPad to remotely control the camera and stream a live feed from the sensor. If you have a weak connection, the frame rate will drop, but the camera will still communicate. All image controls as well as relevant menu items can be accessed remotely and high-res JPGs can be streamed while shooting, all while the camera records to the internal memory or to a tethered connection over USB. Great feature for both the commercial studio as well as in the field for landscape applications. And, just like the T app, you’ll be able to browse and evaluate all the images on the card.

Some of my long-term wish items have been granted. In speaking with the Toni, he said that there were some “David Farkas wish items” on the new camera. One of my long-term wishes for landscape photography was to have the ability to determine hyperfocal distance. The S offers such a full system integration between lens aperture, precise focus distance and the camera that I reasoned it should be possible to calculate and display a DOF range. I’m happy to say that this is now a standard feature on the S 007. Whenever you are in manual focus mode or when performing a manual focus override in AF, three numbers show on the top display: the focus setting, front focus and back focus. So, to get hyperfocal, just turn the lens until the back value reads at infinity. Done and done. Love it.

Distance readings for DOF

Another item that I’ve requested is the ability to write DNG to both the CF and SD cards at the same time. Not only does the camera do this with ease, but in Backup mode as it’s called now, the S will also write DNG+JPG to both cards or store DNG files on card while shooting tethered. This last point is great. If the S2 or the S 006 got disconnected during a tethered shooting session, the camera would be fine, but the images in the buffer and in transit would be lost. Now, the S 007 in the same situation would just continue shooting to the internal card storage.

Leica is also teaming up with some experienced video accessory companies to create a full shooting package around the S. Rigs, matte boxes and follow focus controls from Chrosziel, microphones from Sennheiser and digital capture from Atomos are all in the works. In fact, Atomos is planning a firmware update that will allow the S to be controlled by the recorder’s touch screen when connected via HDMI.

Chrosziel rig… for Leica!

Sennheiser mic…. for Leica!

Atomos Ninja hooked up to S with HDMI cable

All-in-all, the S (Typ 007) seems to really deliver. Some might be disappointed by Leica’s decision not to bump the resolution slightly to 50MP, but to reiterate Stephan’s point, Leica is focused on delivering practical, real-world quality and usability.

To add a tenth lens to the system, Leica is also imminently releasing the gorgeous 100mm Summicron-S ASPH. This is now the fastest medium format lens produced and will equal the depth of field of an f/1.6 on 35mm full frame. It focuses down to 0.7 m and according to Peter Karbe, head of optics at Leica, it is an amazing optic, delivering almost perfect performance wide-open at every distance. He seemed especially proud of this new lens design and has made it clear to me in the past that the S lenses are the showpieces of Leica optical design.

And, lastly, in keeping with the trend of taking the previous generation and rebranding it as an “essential” model, the S (Typ 006) will get a makeover and name change to the Leica S-E. Dressed up in anthracite gray with silver controls, the S-E is like an M-E on steroids. At about $10,000 less than the S (Typ 007), it can still serve the needs of those photographers not needing video, live view, fast frame rate or low light performance, while offering a more attractive price point.

Leica S-E

Leica S-E

The S System continues to mature and shows Leica’s long term commitment to constant improvement and continued support. The lenses continue to be among the best that Leica has produced for any system and now the upcoming camera offers medium format without compromise. It’s incredible that it’s only been six years since Leica first announced the S System and less than five years since it started shipping the S2. There has been so much improvement and a rapid build-up of lenses to meet most every need that the S is truly a flagship system for Leica.

Stay tuned for more Photokina updates! Don't forget, you can follow me on Instagram @leicastoremiami and on Twitter @reddotforum.

S Product Manager Toni Felsner