You should approach photos of family and friends like any other client.

Making photos of family and friends is part of being a photographer. Once your nearest and dearest find out that you know how to use a camera, they’ll be inviting you to everything and anything. For many, myself included, that’s a good thing. Because although I may not always want to make photos, most of the time, I will. And it’s nice to be able to give something to the people you care about while knowing it’s something they’ll enjoy. But photographing friends and family should be done with the same standards as any other client. That doesn’t mean, however, that they’ll act as a client. You must set boundaries, and in this piece, I’ll tell you how I did it.

Making Photos of Family and Friends

Those in your inner circle will come with a range of requests. Some may want you to make photos of a night on the town, while others may ask for a full professionally done portrait shoot. What you commit to is up to you, but I know first hand it’s hard to turn down people who know you best.

Whatever variant of shoot you do, you must approach it like any other time you make photographs. That’s because you never know where your images will go. After making photos of family and friends, they’re going to want to share them. Like any other person in this era, sharing them means posting on social media. There’s a chance anyone could see them. If you’re sending images that are low in quality, you don’t want certain peoples’ eyes landing on them. There’s a chance it may tarnish your reputation, especially if a person in the industry sees them.

And this is where we reach the first potential hurdle. A common request you’ll hear is, “Send all the photos, and I will choose my favorites.” The problem with that is their favorites may not be the same as yours. Sending all the photos can result in you seeing a photo you took (and that you didn’t like) shared with strangers on the internet.

In this situation, you must be strong. Remind them it’s going to take you time to look at the photos. Also, remind them it took you time making the photos when everybody else was having fun. Explain to them that you don’t want certain images online, and you would prefer to send the photos you’re most happy with. Lastly, ask them to trust you. Remind them you know what you’re doing you will ensure they’ll receive photos they’re happy with.

Sending Unedited Photos of Family And Friends

Another common request you’re likely to hear is: please send all the photos unedited. I’ll say this the simple way: never do that. Editing is such an important and sensitive part of your image-making. Terrible editing can ruin an otherwise good photograph. So, tell them you’re only sending photographs you have edited.

If they insist and you feel like you don’t want to let them down, there is an alternative. Send them all the unedited photos, but ask that they do not tag you or give you credit for the image if they share them. I would only reserve this for your most inner circle. Anybody outside of that, who you still consider close, should only get edited images. If they’re close to you, they should respect that.

Sending Photos Right Away

After making photos of family and friends, they will want the images as soon as possible. Because they are close to you, they may think they should get special priority. This is natural, of course, but you must put boundaries in place when needed.

Don’t allow them to pressure you into sending them right away. If you have the time, do it. If not, then don’t be afraid to make friends and family wait. Your more important commitments should take priority.

Enjoy It!

Making photos of friends and family is one of the best things you will do as a photographer. You’re likely sharing a special moment with them, and having the opportunity to record that is an amazing thing. Unlike a client, they won’t only be photos for them; they’ll be photos for you too. The images are something you can ch...

These small yet incredibly powerful cameras make travel photography easy.

It has been a while since we’ve been able to talk about travel photography with any real meaning. The pandemic has stopped us in our tracks. Still, things do seem to be trending in the right direction. Hopefully, it will soon be safe to travel once again. With this in mind, perhaps it’s time for you to re-evaluate your travel photography gear. There have been many cameras released during the past year that are great for travel photography. The cameras we have rounded up here are all incredibly compact, but they’re mighty powerful. They’re all robust and can take a beating. These cameras have the latest and greatest autofocus systems and sensors that capture a ton of detail. Pair these travel photography cameras up with some lightweight primes, and you’ll have a perfect travel kit. Check out our five favorite cameras for travel photography after the break.

Fujifilm XS10

“It’s easy and fun to use. The images it produces are excellent. The RAWS and JPEGS are fantastic, and the IBIS and film sims make it a joy to use.”

EOS M6 Mk II

“The Canon EOS M6 Mk II is a camera that delivers fantastic image quality. I adore it. At the moment, Capture One doesn’t support the RAW files, and so we didn’t test those out. However, these JPEGs are images that I’m more than happy with. If you’re the type of photographer to simply just be satisfied with what you get out of the camera because YOU KNOW HOW TO SHOOT IN THE FIRST PLACE, then you’ll really like the Canon M6 Mk II.”

Buy now: $849

Olympus OMD EM5 Mark III

Chris Gampat – Editor In Chief

“The EM5 Mark III’s autofocus is quick and accurate, the weather resistance is top-notch, and the image stabilization is arguably one of the best in the industry (having a smaller sensor helps). For the photographers happy to just shoot JPEGs, the wealth of built-in Art Filters will likely be all the editing they’ll ever need. Those preferring instead to shoot raw and finish their images during post-processing will find lots to love about the EM5 Mark III’s highly versatile raw files as well.”

Buy now: $999

Pro Tip: We don’t get to travel very much these days. So, when the opportunity does present itself, we need to make sure we make the most of it. If you want to capture images of your trip that will bring back all the joys of being there, you should check out this guide. This book will teach you how to become great at travel photography in no time at all.

Nikon Z50

Brett Day – Gear Editor

“Almost everything about the Nikon Z50 is nice. You’ll find that you will love the ergonomics, the way the camera operates, and the images it produces.”

Buy now: $856.95

Sony a6400

In our review, we said:

“The Sony A6400’s image quality is on par with results we’ve seen out of the A6300 and A6500. Images are sharp, with lifelike colors that are rich and vibrant. For the audience that they’re catering to, the JPEGs at least will be very worthwhile.”

Buy now: $898

Using the DJI FPV was incredibly fun and just the spark that the industry needs.

The brand new DJI FPV gave me all the fun that playing with toys did as a child. But instead, it’s a serious device for creating. Drone photography is seriously one of the most fun and enjoyable things you can do. Like a few other types of photography, you can think of it as a toy shooting style. Unfortunately, lots of products don’t really have things like RAW capabilities. But some, like the DJI FPV have extra fun factors to them!

DJI FPV Important Stats

Shoot using a first-person VR headset

Similar controller to other DJI drones

New design with a lifted rear area

VR headset shows you where the HOME is

4K 60p video

Rocksteady image stabilization

No manual exposure control or RAW

Emergency brake

Hover function

Normal (N) Mode: During N mode operation, DJI FPV operates similar to other DJI drones, hovering in place with the use of GPS and/or visual positioning systems (VPS) on the bottom of the drone. The most approachable flight mode, N mode, allows for obstacle detection sensors on the front to be activated to warn when obstacles are near and slow down. Pilots are tasked with maneuvering the drone away from any detected obstacles.

Manual (M) Mode: Take full control over the drone with M mode, which is designed for more experienced users. While in M mode, all sensors and hovering features are disabled.

Sport (S) Mode: A new hybrid blend of M and N mode, S mode offers some of the dynamic movement capabilities that come with M mode along with some of the key safety features of N mode. S mode is the middle step between the three modes and developed to give pilots more room to explore their skills as they get accustomed to FPV flight.

Standard low-latency HD mode: See the world in 1440x810p in either 60 fps with a wider 142° Field of View (FOV), or 50 fps with 150° FOV. In this mode, latency is as low as ≤ 40 ms.

Smooth mode: In this mode, pilots activate high frame rates for a more cinematic look to signal latency is decreased to ≤ 28 ms. Resolution is 1440×810p 120 fps with a 142° FOV or 100 fps at 150° FOV.

Audience mode: Share the pilot’s perspective in audience mode, which connects up to eight additional goggle sets to the pilot’s view so even onlookers can experience the flight.

The standard DJI FPV Combo includes the FPV drone, remote controller 2, FPV Goggles V2, all required cables, and one battery for the retail price of $1,299. The DJI FPV Fly More Kit is also available, which includes two additional Intelligent Flight Batteries and the dedicated charging hub for the retail price of $299.

A New Take for Creators

The DJI FPV is designed for a first-person view. So operating it is done through the controller and the visor. It’s designed for speed, hence the design. But it gives you the immersion that wasn’t possible like it is with putting your eye to a viewfinder.

Before I go any further, this doesn’t shoot RAW. And it doesn’t have manual exposure control. So if that makes you stop reading, then to each their own. But I’m fine with JPEGs and applying filters via my phone. That’s what mobile photography is all about. And overall, this is just for fun. I absolutely wish that there was a way to shoot RAW; it had a large sensor and manual exposure control with variable apertures. But that’s not the case here.

Drone photography, videography, and shooting have surely had their experts. But I feel cutting out the distractions is going to open the doors. It’s going to be easier for folks to shoot and become immersed.

I flew it above Flushing Meadows Park in Queens, NY, in my short time with the drone. The immersion gives you a truly visual experience unlike anything else. You always see those long, winding, beautiful cinematics. But you never make them yourself. In this case, you are. So you need to be careful about the speed, the pitch, yaw, etc. Getting a view from a drone is one thing. You can easily do that with a DJI drone and your phone. B...

This is probably the best portrait lens the L Mount has.

It took me a while to figure out the right headline for this review. The Leica 75mm f2 SL is a beautiful lens with wonderful image quality. Technically it’s not an odd focal length. If you put a 50mm lens on most APS-C cameras, you’ll get a 75mm focal length. If you’ve used Leica lenses for a while, you’ve probably used a 75mm lens. This is one of my favorite lenses for the SL lenses. In my mind, it’s one of the best portrait lenses for the system. Make no mistake; comparatively speaking, you’re probably paying quite the premium. But, at the same time, this lens has no comparison.

Leica 75mm f2 SL Review Pros and Cons

Pros

Beautiful image quality

Lightweight

Solid build quality

Close focusing for tighter portraits

Cons

It’s over $5,000, but you can probably find it cheaper on Amazon or eBay.

Gear Used

We tested the Leica 75mm f2 SL with the Panasonic S5 and the Leica SL2.

Tech Specs

Tech specs summarized from the Leica 75mm f2 SL listing on LensRentals. Try before you buy.

F2 aperture

Metal body

2.9-inch diameter

4-inches long

67mm filter thread

9 groups in 11 elements

1.6 feet close focusing. Nice for portraiture that’s tight!

L mount

1.58 lbs

Ergonomics

The Leica 75mm f2 SL looks a lot like many other modern lenses. It’s got a simple design on the outside. The body’s exterior is mostly metal, and there’s a little bit of a rubber focusing ring. That’s really all there is to it.

The front filter thread of the lens is a 67mm in size. That’s putting into perspective just how modest this lens is.

When you hold the lens, be sure to grip the rubber area tightly. The body is otherwise very smooth.

Build Quality

The Leica 75mm f2 SL is weather sealed. Leica’s SL lineup is generally very well built. Their cameras are some of the few with actual IP ratings. And the lenses are built to work with that system. No matter the situation, we’re sure this lens will hold up to whatever you throw at it.

Better yet, it’s a prime. And it’s got a nice balance of being lightweight while solidly built. Personally speaking, this is the most pleasingly built lens for the SL system I’ve used. I like it even more than Leica’s 35mm f2, which makes no sense to me as to why it’s so large.

Ease of Use

Slap this lens on your L mount camera, and you’ll see it’s a simple lens to use. Point, focus, and shoot: that’s all you need to do. Otherwise, there are no controls on the lens besides the focus ring. If you want to switch the focus to manual focus, then you need to do that via the camera’s menu.

Autofocus

The autofocus performance is a mixed bag. Mostly, it’s positive. On the Leica SL2, it’s fast to focus but not always the most accurate to focus. To get accuracy, it’s going to take a bit longer. But overall, there’s about a 90% hit rate in good lighting. This performance rate goes up immensely with the Panasonic S5.

In the pandemic, it’s been very difficult to test lenses. So some of this was done in my own apartment. Using the Leica Fotos app, I found the self-portraiture process to be really fun. The coolest thing is finding out just how close the lens focuses. It can create tight headshots! Indeed, the Leica 75mm f2 SL is very versatile with autofocusing.

Image Quality

The Leica 75mm f2 SL has SPECTACULAR image quality. Part of this is because of just how versatile this lens is. However, there’s a lot to really like about the Leica 75mm f2 SL. It’s got nice bokeh, is sharp, really beautiful colors, and there are no optical issues with it. Best of all, it’s an odd focal length. So, it means you’re working in a different way. But at the same time, it’s not that unusual of an optic.

Bokeh

One of the coolest things about this lens is the bokeh. It’s nice and smooth. Yet, in some ways, it’s also sort of hazy. You’re not going to get the beautiful smoothness that you will from a faster lens, but the quality is surely there.

Technically speaking, this lens doesn’t really have any comparison. But I did s...

All images and text by Robert Claus. Used with permission.

I’m seeking out the hidden beauty of a common local landmark by revisiting it over three winters and producing black & white images shot only on a basic iPhone. Several years ago, I was lucky enough to catch a major David Hockney retrospective at the De Young in San Francisco and was particularly impressed by a series of charcoal drawings he had done of a footpath through a wood in Yorkshire. Not only were the drawings technically flawless, but they were done over the course of a whole year, showing the same scene in different seasons. He explored the same concept with a stunning video installation that placed the audience in the middle of a clearing, with each of the four video walls playing a different season at the same time, so that viewers experienced the whole year all at once.

This experience made a lasting impact on me not only because of the amazing, conceptual art but also because of his dedication and patience: it was clear from the puddles and raindrops in some drawings that he went out in all kinds of weather to do his work. Moreover, it was a way of pushing the idea of working serially to a whole new level. I had first encountered this concept with Monet’s garden scenes and then with Hokusai’s Thirty-six Views of Mount Fuji, which really resonated with me.

For some years after that, I wanted to try something similar but could not find the right location. One day, I changed my commute to work to take the backroads to the office, which led me past this reservoir. For some reason, I decided to pull over and take a look—and realized I had found the perfect location. Stevens Creek is one of many small to medium size reservoirs dotted around the Bay Area watersheds, and unremarkable in every way. If there was beauty to be found here, I would have to look hard for it! To make things a little more interesting, I decided to use only an iPhone, and work only in black and white.

Soon, I was clambering around the place every chance I got, exploring various aspects of the reservoir, from the namesake creek that drains into the lake to the spillway at the other end. I tended to shoot in the morning and occasionally managed to catch a spot of rain or fog. The initial results were promising, and within six months of starting, I had produced a folio of fourteen images. This was well and good, but one season did not seem enough for an in-depth project like this, so I set out again the following winter. Due in part to our ongoing drought, the water level was about a third lower this time, which revealed new shapes and contours around the lake. I could now climb down onto the lakebed in areas that would have been a dozen or more feet underwater the previous year.

The exploration now encompassed more than just the lake itself and began to tell a bigger story of drought and pollution; by the simple fact of returning a year later, I was also adding a historiographic aspect to the project. Gradually, my style evolved and became surer, and I began to approach the process more confidently. Season two was completed earlier this year with another short portfolio, and I started shooting for the third (and final) season last month around a lake that is the lowest level I have ever seen. Once that work is complete with another collection of images, I will curate a selection of photographs from all three years into a single volume for publication and sale. I would also love to show the images in a local gallery!

If the Sony 50mm f1.2 G Master lens really comes next month, then we need to stop talking about MTF charts.

As much as things change, they also stay the same. And honestly, I’m expecting the same thing from Sony. If the Sony 50mm f1.2 G Master is real, then it’s going to be good. However, I’m also sure it’s going to be just the clinical definition of good. Sony’s engineers have sucked the soul out of lenses. The only recent exception is the Sony 35mm f1.4 G Master. But a lens like the Sony 50mm f1.2 G Master will really need to be something extraordinary.

This site has reviewed pretty much every Sony E mount lens out there. We have an entire Sony E Mount lens guide that we update twice a year, and we continue to see the same things. Their lenses are clinically perfect. I mean, who really complained about onion bokeh before? It’s a problem because it’s creating too sharp a world. What portrait subject wants to see their pores and crinkles? Why do we need to Photoshop the images? It’s fed into an entire culture of body issues. And the Sony 50mm f1.2 G Master will need to find a way to bring the character back. But here’s the truth, Sony fanboys won’t care; they’ll buy it just because it’s a Sony lens.

The photo above is from the older Sony 50mm f1.4 for A mount. That was a beautiful lens! Here are a few more images from it.

I say this all as an Canon RF 50mm f1.2 L USM lens owner. Speaking on behalf of image quality, this is the most perfect lens I own. It’s not incredibly sharp. And everyone just looks fantastic when shot on Canon. It’s similar to shooting on a medium format or Instax film. It’s impossible for someone to look bad. This has been the case for years.

Canon RF 50mm f1.2 L USM at f1.2

But, the one Canon RF lens I own isn’t perfect. It’s heavy. That’s the biggest flaw. I can totally understand its high price tag. However, it’s otherwise a nearly perfect lens. If you look at DXO Mark charts, you’ll read about the Zeiss Otus and Sigma’s 50mm Art lens. The Sigma has no soul, which is odd since it’s an Art lens. And the Otus is an overpriced lens with no weather sealing or autofocus. So how can Sony outdo the most perfect 50mm lens on the market?

Well, for starters, it needs to be lighter. That’s something I think Sony could easily do. But they also need to raise the build quality: arguably also something Sony can do. Sony’s autofocus is excellent, but it sometimes lags behind Canon’s. Quite honestly, one of the best things Sony could do is make this lens a low contrast option. There’s a huge difference between sharpness and contrast/clarity. Lots of modern lenses have a ton of contrast that makes them more vivid and look sharper. But true sharpness is all about the optics. If you’ve ever shot with medium format film, you’d understand. Medium format film is akin to the camera sensor. The lenses are sharp, but they’re not as contrasty. So, folks just look better.

In the end, I think Sony just needs to engineer character back into their lenses. Photography is loved by all; let’s get that clear. But, only passionate photographers are really buying cameras these days. That includes both hobbyists and professionals. From the point of a reviewer, everything is also starting to look and feel the same. We need the magic back. And we don’t need to do that by spending hours in front of a computer. We do enough of that every day.

I know the folks over at Sony read our site. I sincerely hope the feedback doesn’t fall on deaf ears.

It’s that time of the month where we look at the gear you, our readers, have been snapping up. This roundup will focus on the most popular lenses for February 2021. If you’re interested in seeing which cameras have been finding new homes during February, check out this post. We’ve been seeing a trend over the last few months here at The Phoblographer. Fast, affordable primes are incredibly popular, especially for Sony Mirrorless cameras. This is really not surprising. The quality of even the most affordable lenses has gone through the roof in recent times. So, lets, dive in and see the most popular lenses for February 2021.

Sigma 16mm f1.4 DC DN Contemporary

“It’s sharp, has nice bokeh, contrast, manageable fringing, and autofocuses at a fair speed. Plus, it has weather sealing. There isn’t a whole lot to hate with the Sigma 16mm f1.4 DC DN Contemporary. If you’re the type of photographer who shoots wide, does documentary style work, and needs a reliable lens in their bag, this is one of the best options you’ve got if you’re a Sony shooter.”

Buy now Canon EF-M: $369

Buy now M4/3: $399

Buy now Sony E: $374.99

Tamron 20mm F2.8 Di III OSD

Chris Gampat – Gear Editor

“This lens has great image quality with nice bokeh (when possible), very good sharpness, and beautiful colors. On top of all that, it’s lightweight and built like a tank. Best of all, the price and portability are things you’ll be very happy with.

Buy now Sony E: $249

Tamron 24mm f2.8 Di III OSD M1:2

In our review, we said:

““The Tamron 24mm f2.8 Di III OSD M1:2 (Model F051) is an affordably priced lens for Sony Full Frame Mirrorless cameras that combines outstanding image quality and robust weather sealing with a compact and lightweight form factor.”

Buy now Sony E: $199

Pro Tip: All of the most popular lenses from the month of February are winners in our book. Though they might be affordable, that doesn’t mean you should neglect them. These popular lenses will need to be cleaned often, just like any lens. Use this lens cleaning kit to keep your lenses looking and functioning like new. It’s under $15 and should be in every photographer’s camera bag.

Fujifilm 50mm f2 R WR

Chris Gampat – Editor In Chief

“really recommend it for street photographers and street portraiture. Studio shooters have a whole number of other options. The weather sealing and autofocus performance make it well suited to the streets–which is where most Fuji shooters will be going. One of the best things is the reliability of this lens; you’ll be able to surely keep using it in tough weather.”

Buy now: $449

Sigma 56mm F1.4 DC DN Contemporary

In our review, we said:

“The Sigma 56mm f1.4 DC DN Contemporary produces some of the best images we’ve seen to date of any lens designed specifically for Crop Sensor Sony E Mount cameras. In-focus areas are tack sharp. Out of focus areas pack plenty of bokeh. Images produced by the Sigma 56mm f1.4 are consistently sharp in the center of the frame. Sharpness goes throughout the available aperture range (f1.4 to f16).

Buy now Canon EF-M: $395

Buy now M4/3: $410

Buy now Sony E: $397

The Sigma 65mm f2 DG DN Contemporary is a classically popular focal length with cinema but a bit odd with still photography.

Even after two calls with my Sigma rep talking about the Sigma 65mm f2 DG DN Contemporary, I still don’t totally understand it. It’s a weird focal length, which I genuinely love. I think it’s great that Sigma is trying brave things. It’s also incredibly sharp and has stellar image quality. But using this lens isn’t the easiest. Every time I think I’m going to use it like a 50mm, I need to adjust. And every time I think to use it like a 75mm, I had to step forward a bit. This is in an odd spot. But believe it or not, the best place the Sigma 65mm f2 DG DN Contemporary belongs is on a camera with a tripod.

Too Long, Didn’t Read

The Sigma 65mm f2 DG DN Contemporary lens is around $699 and delivers clinically sterile image quality in a cinematic focal length. It lacks full weather sealing, and the autofocus is a bit hit or miss. But, if you get past all that, you’ll enjoy what is possible from this very sharp lens. Oh, it’s got some really nice bokeh too!

Pros and Cons

Pros

Sigma is trying something different.

Outstanding image quality. This is like Art lens level of good quality.

Small

Metal body

Pretty affordable at around $699

I like the I-series lenses, and their aperture rings are lovely. They feel like Leica lenses!

Cons

What the heck, Sigma? Start fully weather sealing your lenses.

Odd focal length

Inconsistent autofocus

What’s Innovative?

Very little is innovative about the Sigma 65mm f2 DG DN Contemporary aside from the focal length. It’s meant for full-frame mirrorless cameras.

Gear Used

We tested the Sigma 65mm f2 DG DN Contemporary with the Panasonic S5, Panasonic S1, and the Leica SL2s.

Tech Specs

These specs are taken from our original news post.

12 elements in 9 groups

STM autofocus motor

9 aperture blades

21.7-inch close focusing

62mm front filter thread

14.3 oz. That’s around the weight of an American football.

$699 price point

Ergonomics

The Sigma 65mm f2 DG DN Contemporary has a 62mm filter thread. That’s tiny. And in fact, the overall lens isn’t that large either.

Somehow, Sigma packed a whole lot into a small body. There’s an aperture ring near the mount. (This is a clicked ring, and there’s no de-click option.) Around the ring is a switch for manual or autofocus. And towards the front is the small focusing ring. It’s grooved, so you can use a focusing tab with it if you wish.

Overall, it looks and feels like a Leica M lens.

Build Quality

The Sigma 65mm f2 DG DN Contemporary is said to have some weather sealing at the mount. In fact, we asked Sigma America to check on that with Japan. While there is a bit of sealing at the mount, they don’t recommend using it in a lot of rain for a long time. You’ll probably be okay with a little bit of it. As the Reviews Team and I have all experienced, though, this depends on your camera.

Weather sealing and durability aside, the Sigma 65mm f2 DG DN Contemporary is all metal. In fact, it feels a lot like a modern, autofocus, Leica M-mount lens. And that’s wonderful! It also means it will be a tad cold to grip in freezing weather. Still, this lens is built very solid.

Ease of Use

The Sigma 65mm f2 DG DN Contemporary is a lens with an aperture ring. Automatically, there’s a whole generation of photographers that won’t know what to do with themselves. But for the more seasoned and marinated among us, we’ll be just fine. There’s always the “A” mode on the lens to reassure you that you’re not going crazy. But it lacks the lock that Sigma’s Art series lenses have.

Also, note that this doesn’t have a focusing distance scale. So if you want to zone focus with this lens, just forget about it.

Autofocus

Here’s where this review gets a bit weird. Sigma has always blamed its autofocus on other manufacturers. Yet even with its own cameras, the autofocus just isn’t that great. We deci...

The Leica Noctilux 50mm f1.2 ASPH is a remake of a 1966 lens — and fans of the film look are going to want it.

Lenses are increasingly stamping out some of the most common technical issues. High-end, modern lenses push for sharpness all the way to the corners, eliminate aberration, and reduce vignetting. But as lenses become more technically correct, the optics also become more sterile. The new Leica Noctilux 50mm f1.2 ASPH is not one of those lenses. A remake of a film lens originally produced in 1966, the lens is nearly identical to the original except for a digital-friendly mount. Leica kept everything from the 16-blade aperture down to the aluminum build.

That design also mimics the image quality of the original. The lens creates a dreamy softness and dark vignette at f1.2, with sharp subjects and deep colors stepped down. Vintage lenses offer some of that film look without the actual film. The Leica Noctilux 50mm f1.2 ASPH offers that old look, without the $40,000 price tag the original lens is fetching on eBay.

I spent one week shooting street and portraits with the Leica Noctilux 50mm. While the lens isn’t for everyone (manual focus lenses seldom are) it just oozes with old school character.

Pros and Cons

Pros

Great vintage character

Metal construction

Excellent shooting experience

Superb bokeh

Rich colors

Well-controlled flare

Focal length scale with depth of field

Cons

Technically imperfect with edge softness and aberration

Manual focus only

Heavy

Expensive at over $7,000

What’s Innovative About This?

As a remade lens, Leica isn’t pushing for innovation here. But, among modern lenses, few have the 16 aperture blades and the look this remade lens offers.

Gear Used

I tested the Leica Noctilux 50mm f1.2 with the M10-R body and the Visoflex electronic viewfinder. I carried the pair with the Wandrd Sling and stored them inside the Ona Bond Street Bag.

Leica Noctilux 50mm f1.2 Tech Specs

Adapted directly from Leica:

16 aperture blades

Maximum aperture f16

Focus range 3.2 feet (one meter) to infinity

Constructed from 6 lenses in 4 groups with 2 aspherical elements

2.04 inches long (3.11 with lens hood attached)

Ergonomics

Leica says the new lens is almost identical to the design of the 1966 lens. The biggest change is that the mount has an electronic connection, allowing photographers to see lens metadata.

Moving on from the mount, the first ring is for aperture. The focal scale is printed on the ring itself, in both feet and meters. On the body, Leica kept the depth of field scale, which shows you the focus point and the focus range for the selected aperture. In a glance, it allows you to see that, if you are focused ten feet at f8, objects between eight to about 15 feet away will be in focus. That’s a huge help for working in manual focus, particularly with techniques like zone focusing. Essentially, the lens does the depth of field math for you. Many modern lenses are skipping out on the focal scale entirely. The few that keep the scale intact show such detailed depth of field data.

The second ring at the front edge of the lens is for aperture. The ring turns with a satisfying click and is nicely labeled.

The front of the lens accepts 49mm filters. A metal hood is also included. It’s a bit bulky, but easy to pull on and off by pushing two buttons. Both the lens cap and end cap are also made from metal.

Build Quality

The Leica Noctilux 50mm f1.2 is constructed with an aluminum barrel. That gives the lens a solid, sturdy feel in the hands. I love the vintage feel of the lens, and how perfectly it went with the classically inspired M10-R.

The metal construction feels much more durable than the typical plastic build lens. Leica doesn’t use weather-sealed labels on any of their gear, though we’ve heard about photographers shooting with other Leica lenses in the rain without ill effects. As durable as the lens feels, I’m not sure I would put such a price...

Recently, we discussed AI body tracking in cameras and how it’s going to change things.

It’s easy for people to sit there and complain about AI taking their jobs. For photography, it’s making so many things easier for us. But we need to learn to rise above as human. The most important part of the camera is still the person behind it. So it’s your job to use the tools you’re given to create better photos. This is a totally different way of thinking. For example, AI Body tracking is in cameras. It’s bound to come to more. And we discussed that in our recent episode of Pro Camera Reviews.

In This Episode:

AI Body Tracking Opens Up a Whole New World for Photographers

Cameras have things like face and eye detection. But a lot of work has been done to also do body tracking. In some ways, camera systems already do this. But it’s going to get even more advanced It’s also going to become a lot more prevalent. Chris and Brett will talk about how this is going to affect photography going forward. And they’ll also discuss the idea of the camera doing all the work vs the photographer.

On the Next Episode

The Sony Xperia 1 II – First Impressions: Smartphone photography is more popular than ever right now, and rightfully so. Smartphones are capable of producing stunning images across multiple genres. The fact that they are always in your pocket is a huge bonus. We’ve had the Sony Xperia 1 II in our hands for a short while now, and we have been putting it through its paces. Its ties to the Sony Alpha line of cameras make this option stand out from other smartphone cameras on the market. But, what’s it like to use in the real world? During this segment of Pro Camera Reviews, we’ll share our first impressions and sample images from this mobile camera.

The Apple iPhone 12 Pro Max Review: We’ve spent a lot of time with the Apple iPhone 12 Pro Max. It’s a fantastic tool for a working professional that can justify the price to themselves. And if you’re a journalist or a photographer, it’s also a great addition to your kit. With three cameras on the back, a whole lot is possible. Plus, the addition of Apple ProRAW is a welcome feature. But how good is it? More importantly, is Apple just really that good? Will it replace your dedicated camera? And is mobile photography really “there” yet? We’re going to talk about this and so much more in this Pro Camera Reviews segment.

About Pro Camera Reviews

Pro Camera Reviews happens every Sunday. Sign up to join us! Please Register here.

Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

Please register here.

If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. Episodes are done on Zoom and are recorded. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.