The Phoblographer

All images by Chris Hoare. Used with permission

“I hope my pictures in some way seduce people into these spaces”, says Chris Hoare about his latest project. Growing Spaces was conceptualized as an idea before the Covid-19 pandemic but had to be completely done under the UK lockdown restrictions. This unexpected turn of events coincided with an upsurge in public requirements for open gardening allotments, which greatly aided this photo documentary.

These images were taken between April and November of last year, at the height of the lockdowns in the UK. A system that originated in the 19th century, the demand for allotments have increased in popularity since the 2020 lockdown. More individuals and families have been turning to gardening to escape the drudgery of the ongoing pandemic. Such fertile spaces allow residents of the areas to grow their own produce at their own pace. These plots also became a sanctuary of sorts, as they were one of the few areas that people were allowed to visit during the lockdown. Many had been on waitlists for years to be able to use these plots. Chris’s methodical approach to photographing the allotment goers and their projects helped him closely bond with a number of them. He’s adapted his trademark ‘speculative documentary’ style of storytelling to this project. ‘Growing Spaces‘ is also currently available to purchase as a softcover from RRB Photobooks.

The Essential Photo Gear of Chris Hoare

Mamiya RB67

Mamiya 127mm lens

– Chris Hoare

“I used a Mamiya RB67 with a 127mm fixed lens, simple but heavy as you can imagine. I like the slowness and limitations of it, I also the way that camera renders the world, which for me this is quite important. For portraiture it’s great, I’ve always used waist level finder cameras and I like how this effects portraits, looking down as oppose[d] to looking at the person being photographed.

The Phoblographer: Talk to us about how you got into photography.

Chris Hoare: I found photography whilst studying art just after high school, whereby one module was being introduced to analogue processes. As cheesy or cliche as it sounds, it was sort of as soon I stepped into the darkroom I never looked back and haven’t really wanted to pursue a different career since.

The Phoblographer: I believe this photo project was conceptualized before the Covid-19 outbreak. Did a lot of rescheduling have to be done for working on it during the lockdowns? What was going through your mind?

Chris Hoare: The work was commissioned by Bristol Photo Festival, which is set to take place for the first time this year. Just like the festival itself, the commission was conceived before the pandemic, but as a result of it, the subject of allotments and growing gained an added layer of importance – with the sudden increase in popularity. I began making images at the beginning of April and finished in November, so it was almost entirely made throughout the lockdown restrictions. It felt important to be documenting this urge that society was having for the outdoors at such a historic moment, it was also fortunately something which was possible due to the nature of it all being outside. There were questions at the beginning of whether or not it was possible, but I decided to go with my gut and do it safely, allotments as mentioned were legally allowed to continue.

The Phoblographer: So what did you notice about the mental health of some of these folks? Were they doing this as a hobby? To survive? Did they just want to interact with other people?

Chris Hoare: It’s more than clear that gardening is good for your health and wellbeing, there was a study recently which stated all the benefits to having an allotment, which went far beyond just the physical health benefits, it noted “high levels of social and community activities, including sharing surplus food, knowledge exchange, awareness and interaction with wildlife, along with appreciation of time spent outdoors.” I’m sure all of the people featured in ...

All images by Rey Hernandez. Used with permission.

“I can’t tell what [is] my limit, there [are] just so many targets and each yields [a] different outcome the more time you put into it.”, says Rey Hernandez, who currently has reached 54 hours of exposure time on a night sky photo. He hopes to hit a 100 hours exposure someday to photograph more amazing constellations in our night sky.

Deep-sky photography is something that requires tremendous patience, and Rey has (literally) put in hundreds of hours of it over many years. The calculative process behind the focusing and precision positioning makes it one of the most rewarding types of long exposure photography. Rey’s approach to this is unique, with his multi telescope and multiple zoom lens rigs providing some spectacular results. A migrant to the USA at the age of 18, he hopes to someday retire with all his gear to his native Philippines and teach school kids how to experience viewing galaxies.

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The Phoblographer: Give us an intro to how you got into photography and especially deep-sky photography

Rey Hernandez: It started back 1986 when I first got my SLR camera and bought my first Tasco long tube refractor. Back then I first saw the rings of Saturn and got so excited and found a way to connect my SLR and snap my first astro photo. Unfortunately I lost that picture and until now I am still hoping I will find it.

The Phoblographer: Can you break down the gear you use for this? This will be a section in and of itself. Please tell us how it helps you achieve your creative vision

Rey Hernandez: Well, in astrophotography there is no such thing as one size fits all and one must have a high focal length scope and a wide to medium scope. Time is what we need but I feel it is also my main enemy since my backyard has so many trees and only 45 degrees sky visibility all around. This starts my quest on how to overcome this situation without driving to a remote location. The main question is, how to get more data with such a short window. I thought about cutting few trees but then it will cost as much as a new scope. So I ask myself, how about build a tri-scope so this way I capture data 3x faster? Of course, so much research has been done, thought about buying a fast scope but I choose to add to my existing single setup. So, the tri-scope was the final decision and I saved the trees.

The Phoblographer: 54 hours is an incredibly long time, even if you break up the exposure into smaller segments. How do you accurately track the celestial body across such a long period of time, and over so many nights?

Rey Hernandez: Since I have 3 scopes, a 2hr imaging session will be like 6hrs of data. So 54Hrs of data is only about 18hrs of imaging time. Depending on the target like M31 (Andromeda Galaxy) I only have 3 hrs per night of window to image so it took me about 6 nights to acquire 54 Hrs.

The Phoblographer: What are the software and smartphone apps that you use in your planning?

Rey Hernandez: I use telescopious.com as my planner, I am also a patreon there. This site will tell me what target to choose and what elevation at a particular time.This will also show the field of view of the image so I will know how it looks before even I start. I list my plan before dark. I also use Skysafari to quickly search an object if it is above horizon and also shows me how bright the moon is and what elevation.

The Phoblographer: Your Flickr profile has some images of your astro rig consisting of multiple telescopes and/or lenses pointing in the same direction. Can you explain this setup to our readers?

Rey Hernandez: Yes, the Tri-scopes are all pointed to the same FOV match as close as possible. This gives me the ability to eliminate filter wheels, I can put R/G/B filter on each and this will function as a full-resolution color camera without a Bayer matrix. I can switch to narrowband filter SII/Ha/OIII [Sulphur II / Hydrogen Alpha ...

If you’re thinking about traveling, these are the best compact cameras on the market.

There aren’t a whole lot of compact cameras out there. In fact, there are a lot more interchangeable lens options on the market. But a good compact camera is sometimes all you need. Think of it this way, these cameras are the same ones you’d buy but with a fixed lens attached. You’re not going to change the lens at all. And on most occasions, folks will be perfectly fine with that. So we paged through our reviews index to find the best compact cameras for travel photography. And these three are the only ones you’ll care about right now.

The Phoblographer’s various product round-up features are done in-house by the staff. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only ever recommend gear that we’ve done full, thorough reviews with. If you’re wondering why your favorite product didn’t make the cut, there’s a chance that it’s on another list. If we haven’t reviewed it, we won’t recommend it at all. This method keeps our lists packed with industry-leading knowledge.

Pro Tips on Using a Compact Camera for Travel Photography

Here are some top pro tips for using a compact camera when traveling:

Each of these recommendations has a fixed focal length lens. At this range, nothing has a zoom lens that’s really worth your time. Go for an interchangeable lens camera instead.

Wear your neck strap. As the Editor of this website, I can’t tell you how many times those have saved the staff from breaking a camera.

Make the investment once in a good SD card. Get one that has a fast read speed.

Tuck your elbows into your chest when shooting unless you’re using the viewfinder.

When you’re traveling, use Bluetooth and Wifi to make the camera interact with your phone. You can set up a remote shutter or send images to your phone.

Leica Q2: Super Rugged! And one of the Best Compact Cameras Around.

“At f16, the lens and the sensor output still remain very sharp. But in order to get the best of both bokeh and sharpness, aim to shoot at f5.6 or f8. I’d argue even shallower since it’s a wide angle lens. As good as the sharpness of the Leica Q2 is, I have to admit that I’ve seen better. Sigma and Nikon both make stellar lenses when it comes to sharpness and perhaps we’re starting to see the limits of what the 28mm f1.7 Summicron lens can be with the Leica Q2.”

Sony Rx1r II: Small and Powerful

“When you look at the image quality from the Sony RX1r II, you’ll be very impressed. For what it’s worth it’s the same sensor in the a7r II–Sony’s top of the line camera out there. The details, the color rendition and everything else will be very incredible. Additionally, the lens is also rather stellar.”

Fujifilm X100V: The Adventure Camera

In our review, we said:

“The autofocus on the X100V is fantastic in both good and bad lighting. I was able to successfully track a subject in extremely low light while moving. But I think that folks should really keep something in mind. In my opinion, the AF Wide + Tracking option is pretty useless unless you’re in AF-S mode. Instead, you’re better off using the Zone and AF-C option to get someone in focus that’s moving. The Fujifilm X100V did a great job at this. But otherwise, shooting with the single focusing point is great. If you’re shooting events or street photography, that’s how you’re going to want to shoot. What I also noticed is that oddly enough, it was faster to focus in the OVF mode than the EVF mode. It’s slight, but noticeable.”

Buy Now

The Gura Gear KIBOKO V2.0 30L is a massive backpack for your camera gear.

The Gura Gear KIBOKO V2.0 30L isn’t the perfect bag for everyone, but there are loads of ways to use it. It’s originally designed for folks who bring big lenses and big cameras. I’m aware that not all of you do that. So instead, the bag gives you convenient choices. If you’ve got gear acquisition syndrome, you can store all your stuff in there. If you need to have multiple imaging devices, it can store them all. And if you just need to comfortably bring a ton of equipment, this is one of the hardest bags to beat. But it’s got two small issues.

You probably haven’t heard of the brand name Gura Gear in years. And that’s because of former issues with their Kickstarter campaigns. They’ve seemingly fixed those, and the leadership includes new faces. I genuinely believe that some companies can move past issues if they acknowledge and fess up. That’s what Gura Gear has done. Most importantly, they’re promising to be another big player in the otherwise mundane camera bag space. The new Gura Gear doesn’t feel monotonous at all–and that gives me hope.

Too Long; Didn’t Read.

The Gura Gear KIBOKO V2.0 30L is a bag for people that need to carry lots of big lenses, big cameras, drones, flashes, and other big photo devices. It’s incredibly comfortable for long walks. The designers did a great job separating things out. But it’s not going to be your everyday camera bag. You can’t put a laptop in here.

Innovations

This bag is essentially trying to replace a roller bag in some ways. Instead to pulling along a giant roller, the Gura Gear KIBOKO V2.0 30L puts that stuff on your back. I haven’t seen many bags like this specifically designed for shooting all day with no laptop compartment.

Pros and Cons

Pros

Can hold loads of gear

Incredibly comfortable to hold a lot of gear

It is probably not always practical as an everyday choice because it’s just so large and not really collapsible the way Tenba and WANDRD offer.

Incredibly well built

I like the split design.

They put a lot of attention to detail on the weight distribution

I like the side handle

Good for carrying more than one camera system

You can put all the camera gear in one section and lighting in another

So much storage space.

Cons

I’d still prefer to put my tripod on the bottom.

No space for a laptop despite how large this is.

Unless you fully understand it, you might scoff at the $399.99 price tag.

Gear Used

We put all this in the Gura Gear KIBOKO V2.0 30L:

DJI Air 2s with extra propellers

Masks

Sanitizer

Tripods

Leica SL2s

Various L mount lenses

Sony a7r III

Various Tamron lenses

Profoto B10

Tech Specs

Specs are taken from the original listing page

Dual Side-By-Side Camera Compartments

Each compartment can hold 2 DSLRs, 7 Lenses or Med Format Kit

Compartments are also capable of holding a DSLR and a 400mm f/2.8 Lens

Dual Front Panels with Accessory Pockets

Top Carry Handle and Side Carry Handle

Ultra-durable, weatherproof X-Pac VX-21 sailcloth fabric

Padded 3D Mesh Rear Panel for Comfort

Padded Touch-Fastening Interior Dividers

Water Bottle Pocket

1 Reinforced Tripod Holder Pocket

Side Strap for Tripods or Monopods

Weather-Resistant Exterior, Rain Cover

Airflow channels on back padding provide cooling

Ergonomics

Here is the front of the Gura Gear KIBOKO V2.0 30L. You can see two zippers here. Each is for different sections of the bag. There are two on the left and two on the right. The front-most zippers unlock thin pockets. The back most zippers unlock bigger sections.

Here’s one of the sides of the Gura Gear KIBOKO V2.0 30L. You can see a side handle to grab the bag if you need it. Plus, you can store a tripod here or even a thermos.

Here is the strap system—the backpack straps curve to conform to your body shape. Then there is a sternum strap and padded waist straps. Additionally, there are vents to give you airflow on your back. The other cool thing is the padding system. It’s super comfortable.

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There are very few things as enjoyable and freeing as a nice road trip: use these lenses to get the most of it.

It’s pretty exciting to just get in a car and go on a road trip. The random experiences always create new memories. Documenting those memories and being creative tend to add to the fun of it all. On a road trip, packing minimally can be essential. So, we’re recommending five lenses that you’ll want to bring along. In truth, you’ll only really need one, but we’re letting you make that choice for yourself.

The Phoblographer’s various product round-up features are done in-house by the staff. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear that we’ve thoroughly reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge.

Pro Tips for Road Trip Photography

Here are some great tips for passionate photographers going on a road trip:

Go compact. There’s nothing worse than carrying around a big camera and lens you don’t want to shoot with. This list was made with the best balance in mind.

Build quality is important. Imagine a camera failing on you in the middle of the forest. Luckily, the Leica SL2 and Leica SL2-s are built super rugged with IP ratings. They are the same durability your smartphone probably has. Not many camera manufacturers can make this claim.

Stop your lens down. There’s the famous line by Weegee that says, “F8 and be there!” Stop these lenses down so the sensor can soak in as many details as possible.

The Leica SL2 and Leica SL2-s have USB-C charging. The battery is also already very good, but this will make charging up on the road easier.

Pack a surge protector. When you find a power outlet, you can plug in all your devices to charge.

Rolltop backpacks are ideal travel bags. Many have straps around the sternum and the waist for extra comfort.

If you’re taking photos of people, ask for permission. Be upfront with your intentions. Have a business card or a website handy.

Leica 28mm f2 APO-Summicron SL ASPH: The Speedy One

Do You Need it?: The Leica 28mm f2 Summicron SL ASPH is one of the fastest focusing lenses we’ve used to date. Leica enhanced the motors in this lens for quick capture. Once your cameras have the latest firmware, you’ll have no trouble documenting the road trip. This lens is versatile: documentary work, landscapes, environmental portraits, etc. Bring it with you if you want to capture the human condition in local towns.

“This is where I was most surprised. The Leica 28mm f2 Summicron SL was claimed to have some incredibly fast focusing speeds in the press release. And luckily, Leica was true to their claims. Leica went as far as saying that it could travel the entire focusing range in 250 milliseconds. While we didn’t specifically clock that, it’s surely impressive.”

Leica 35mm f2 APO-Summicron SL: Purely Mystical Photos

Do You Need it?: The best thing about the Leica 35mm f2 APO-Summicron SL is the image quality. Of any lens on this list, it’s our favorite. This lens is great for everyday use. It doesn’t focus as quickly as the 28mm, but makes up for that in pure image quality. Subjects tend to pop out from the beautiful bokeh. With that said, we’re recommending this lens for the person who really slows down. The world doesn’t always need to move at a frenetic pace. So if you like to slow down, take your time, and carefully compose, grab this lens for your road trip. You’ll love it.

“One of the best things about this lens is the color it can produce. It’s truly stunning. In my tests, I felt I got better colors straight from the Leica SL2s’s RAW files in Capture One. That’s pretty much in line with what I find with every camera system, though.”

Leica 50mm f1.4 Sum...

All images by Lana Eileen. Used with permission.

My name is Lana Eileen. I am a visual artist, musician, and photographer currently based on the island of Tasmania, Australia. My work as a photographer seeks to capture a sense of ethereality, combining reality and fantasy to create scenes laced with the heightened quality of magic realism. I approach each photograph like an art piece. Though I favor the grainy quality of vintage film cameras, I also use a Canon 5D MK III and Canon 600D. I only use natural light.

Here’s how you too can have your work featured on our website!

Why did you get into photography?

Lana Eileen: As a musician, I frequently worked with professional photographers on photoshoots for press releases. While modeling, I became increasingly interested in the process of photography. I liked the idea of having greater creative control of the imagery associated with my music by being able to take the press shots myself, so this is what I started to experiment with. Over several years, I slowly fell in love with photography through this approach, but it is only in the past six months that I have started to take it seriously. As I am also a painter and illustrator, I treat photography as another tool for making art, and it is fast becoming my favorite medium.

Which photographers are your biggest influences?

Lana Eileen: I love the elegant, soft-focus work of 19th century photographer Julia Margaret Cameron, and also the grittier work of Diane Arbus. A more recent photographer whose work is a big influence on me is Polish photographer Laura Makabresku.

How long have you been shooting?

Lana Eileen: I have been experimenting for a few years, but have only really started to take it seriously in the past six months.

Why is photography and shooting so important to you?

Lana Eileen: I view photography as another tool for creative expression, and I deeply enjoy the flexibility and versatility of working with a camera. It is important to my work as an artist, as it enables me to give a voice to ideas that I might not otherwise be able to formulate artistically.

Do you feel you’re more of a creator or a documenter? Why?

Lana Eileen: I am more of a creator, as I approach photography like painting or any other artistic practice. I came to photography from being a musician and artist, so it makes sense that I view myself as a creator as opposed to a documented.

What’s typically going through your mind when you create images? Tell us about your processes both mentally and mechanically.

Lana Eileen: For me, a shoot is usually a lot of fun, and somewhat magical — I am looking for those instances when the light is just right, and I am usually very grounded, feeling extremely present in the moment, particularly when shooting outdoors in beautiful places. It is a very meditative experience.

Want to walk us through your processing techniques?

Lana Eileen: I will do a quick edit in Photoshop if I need to add or subtract anything, but then I do the bulk of my editing in Lightroom, where I play with the colors, saturation, clarity, and so on.

What made you want to get into your genre?

Lana Eileen: I think it is a direct reflection of who I am and the kind of art I gravitate towards. It wasn’t a conscious decision, but a product of how I am in the world, and the way in which I perceive things.

Tell us a bit about the gear you use and how it helps you achieve your creative vision.

Lana Eileen: I was shooting on a Canon 600D for a few years, but upgrading to the 5D MK III has been very useful. I tend to focus more on lighting and processing to achieve my vision, shooting at the right time of day, and focusing in on specific moments that harness that sense of magic.

What motivates you to shoot?

Lana Eileen: I am motivated by a desire to create art, giving expression to ideas or images I have in my mind that can communicate a feeling or mood to viewers. I know I love looking at photography and get a lot of enjoyment out of other’s work, so...

The WANDRD ROAM sling is the first one that’s accommodating to a laptop, but why don’t they just make a messenger bag?

Gear bag brand Wandrd is back on Kickstarter with a new bag — and this time, it’s not a backpack. The Wandrd ROAM Sling is a quick-access camera bag that can be worn over either shoulder, the back or front, or even as a fanny pack. But, it’s also a rare sling in that it offers the option to carry a 16-inch laptop and a tripod. This is one of its biggest innovations. The bag just launched on Kickstarter today, May 26.

The Most Innovative Thing about the WANDRD ROAM: The Laptop Bag.

Sling bags are typically too small to fit a laptop. Slings with a laptop sleeve can typically only carry a 13-inch laptop, with a few that can handle a 15.6 inch. Wandrd is using an external laptop bag, in 13 and 16-inch sizes, that latches onto the ROAM Sling itself. And the laptop bag could very well be the most innovative aspect of the ROAM. Besides carrying a laptop with a bag that’s smaller than a laptop, the laptop bag also doubles as an ergonomic stand. This is also one of the coolest things about the laptop case.

The laptop bag bends to allow the keyboard to sit at an angle for a more ergonomic position for your wrists. It positions the laptop like the cheap IKEA laptop stand I use at my desk. The way that it folds reminds me of the Apple Magic Keyboard’s different screen angles. And, it’s not something extra you need to pack since it’s part of the case itself.

We’re actively playing with a prototype of it. So we put a MacBook Pro from 2015 in there. Unfortunately, the laptop stand doesn’t even stay rigid. If you put the slightest amount of weight on it, it collapses. We double checked by taking a look at the product image above. And it really didn’t work. However, WANDRD has been known for sending prototypes that don’t have all the kinks figured out. Hopefully the final version will be better.

Along with attaching that laptop bag, the ROAM Sling also has a pocket at the bottom that can accommodate a tripod or a water bottle. The main pocket has a camera cube built-in, with removable dividers, while a front pocket stashes smaller accessories. You can basically think of the ROAM as a contained camera cube with straps all over it. It’s not a bad idea, and WANDRD was going to inevitably do this anyway.

Ambidextrous Support and No Waist Strap?

The ROAM is also designed for wearing on either shoulder. Wandrd says the five-point adjustment system is reversible and designed to work on either shoulder and for multiple body types. An optional lockdown strap goes under the arm to help keep the sling from sliding around. Spending just a few minutes with a pre-production sample, the bag felt pretty steady walking, but it would need a waist belt to keep it from moving side to side, particularly for commuting by bike.

THINK TANK has a sling with both waist straps and a shoulder strap. It’s made commuting so much easier. We have yet to truly test a production unit, but the pre-production unit is showing its flaws. If you’re loading up a laptop and camera gear, the bag is going to get pretty heavy. In that case, you’d want it to just be a messenger bag.

Built Tough

The ROAM is built with the same materials as the Wandrd PRVKE (a Phoblographer favorite for backpacks) for durability and weather resistance. That includes weather-resistant YKK zippers. The PRVKE Lite only leaked slightly where two zippers met when I tossed it in the shower, so the ROAM could be similarly great for splashes and rain. The sling’s back also has an air-mesh panel, similar to the cushioning on the updated PRVKE bags.

The Precursor to a Messenger Bag?

WANDRD mainly focuses on backpacks, though the company has a duffel and a hip bag as well. The ROAM Sling could be the company’s way of testing the waters for shoulder bags. It’s unusual that the company doesn’t yet have a messenger bag. However, Wandrd says that the adjustable strap does allow for a messenger-like hi...

The Leica 24-70mm f2.8 SL isn’t just a clone of the Sigma 24-70mm f2.8 Art Lens.

If you thought that the Leica 24-70mm f2.8 SL is just a Sigma lens, then you’re wrong. I personally own and use the Sigma 24-70mm f2.8 Art lens. And after working with the Leica 24-70mm f2.8 SL for a while, I can say this definitively. They’re not the same. The Sigma is negligibly lighter. The Leica isn’t even noticeably larger. But what’s evident is the autofocus speed and the build quality. Essentially, the Leica 24-70mm f2.8 SL is the best of both worlds. In some ways, it’s the ultimate 24-70mm for the lens system. In other ways, the L mount continues to do things that perplex me.

Too Long Didn’t Read.

The Leica 24-70mm f2.8 SL lens is an improvement over the Sigma 24-70mm f2.8 Art lens. It focuses faster and has better build quality. Because it has Sigma’s optics, it’s also got great image quality. But I think Leica is capable of doing much better than putting their own wrapper on Sigma lenses.

Pros and Cons

Pros

Not much heavier than the Sigma lens.

Better built than the Sigma variant

Faster focusing than the Sigma variant

Good colors

They basically did what Sigma should’ve done in the first place rather than just focusing so hard on just the optics.

Weather sealing

Very versatile

Cons

I’m not too sure how I feel about Leica using Sigma’s lens optics. I feel it creates too much clutter in the camera system and not enough innovation. Leica, however, has improved on what Sigma did in some ways.

All of the L mount 24-70mm lenses are a bit large for me.

Some folks might not like the $2795 cost

Gear Used

The Leica 24-70mm f2.8 SL was tested with the Leica SL2s.

Innovations

The Leica 24-70mm f2.8 SL is a Leica branded lenses with Sigma’s optics. Optically speaking, Leica isn’t innovating at all here. But where the innovations come in is with the performance and build quality. Leica gave the lens an all-metal body and minimally increased the weight. They also boosted the autofocus performance. Basically, they innovated on and improved Sigma’s lens. But otherwise, this is a 24-70mm f2.8 lens through and through. They haven’t reinvented the wheel at all.

Tech Specs

These specs are taken from our original opinion post.

Essentially the Leica 24-70mm f2.8 ASPH SL is the Sigma 24-70mm f2.8 DG DN Art internally. You can read our review of the Sigma here. Externally, the Leica uses a metal body with rubberized rings.

19 elements in 15 groups

There is a single lens element that moves to get focus.

3 aspherical elements

11 aperture blades

Metal body with weather sealing. This is probably the biggest thing. Leica has IP-rated their cameras, and if Leica rehoused this lens, we’re confident that the build quality will be that much higher.

82mm filter thread

123mm long vs. the Sigma at 122.9mm

88mm in diameter, where the Sigma is 87.8mm in diameter

906 grams vs. the Sigma at 835 grams. The Leica is just under 2lbs.

$2,795 compared to Sigma, which is $1,099. And the Sigma is going for an even lower price right now.

Ergonomics

The Leica 24-70mm f2.8 SL is a lens that looks very much like a Leica, despite the internals not totally being the case. On the outside, you’ll see their token and signature colors used. If anything, it mostly looks like a cinema lens without an aperture ring.

The front of the lens has an 82mm filter thread. Yes, that’s huge. I’m not kidding when I say that this is a big lens compared to prime lenses. Most of the staff here shoots primes.

The Leica 24-70mm f2.8 SL is characterized by two big rings. The one up front is all about focusing. It’s so large to help give the lens extra grip. On the rear is the zoom ring. In between those are the zoom area markers and a textured spot to give the lens more grip.

Of course, the Leica 24-70mm f2.8 SL also has a lens hood. This hood makes the overall package maybe around 1/3rd larger.

Build Quality

The Sigma 24-70mm this lens is based on was already weather-resistant. Sigma does this with their Art an...

These lenses have a look that’s bigger than full frame!

In the past few years, super-fast aperture lenses have become a bit of a trend. Photographers love the look they can deliver: a medium format look on the full-frame format. That’s why lenses like those aren’t just for bokeh lovers. They’re also for those of us who want a completely different look. So, we dove into our Reviews Index to search for some of the best Leica lenses for just that occasion.

Leica 75mm f1.25 Noctilux ASPH

How it Works: The Leica 75mm f1.25 delivers the look of something like a 120mm f2 in 645 format. As some of us know, there really weren’t many lenses like that. The 75mm focal length is incredibly classic. It was popular for many years when film was the dominant format. A 50mm lens on an APS-C camera, like the Leica TL and CL series, shows a 75mm field of view. Arguably, this is an easier focal length than 85mm to use.

The Leica 75mm f1.25 Noctilux will let you work close to your subject while rendering the scene with beautiful bokeh.

Try this: Set your portrait up with three primary colors: your portrait subject’s skin, their clothing, and the background. Make each of these distinct colors. Then add off-camera lighting to make your subject pop from the background.

“What’s to love about the Leica 75mm f1.25 Noctilux? The all-metal build. That fast aperture. The click of the aperture ring. The beautiful image quality that it can render. The smooth turn of the focusing knob. And most importantly, knowing that Leica is treating its employees pretty ethically.”

Leica 50mm f1.2 Noctilux ASPH Reissue

How it Works: Like an 80mm f2 on the 645 format, the Leica 50mm f1.2 Noctilux will render scenes just like medium format. The 80mm f2 was a popular focal length for many photographers. It was used for weddings, portraits, and so much more. That’s part of what makes the new Leica 50mm f1.2 Noctilux Reissue so cool. This lens is a reissued vintage lens, so you’re already getting a classic look. But with Leica’s sensors, you’re getting that plus the beautiful Leica colors. It will boast character like vignetting and some really eye-catching bokeh too.

Try This: Want the look of medium format film? Try setting your white balance beforehand. Set it to 3200K for more of a Blade Runner look. Alternatively, shoot at 5500K for a look similar to Portra and other film emulsions.

“By keeping the design nearly identical, photographers will get a look similar to mounting the vintage Noctilux. Wide open, the lens creates a classic, film-era feel with dreamy bokeh, a strong vignette, and deep colors. Stepping down, you gain solid center sharpness, but maintain some of that bokeh and softness on the edges.”

Leica 90mm f1.5 Summilux ASPH

How it Works: The Leica 90mm f1.5 Summilux ASPH renders a look around 150mm f2.5 in 645 medium format. 90mm is a bit longer than your standard 85mm and that’s one of the reasons why we love it. The industry is in desperate need of different perspectives. As it is, there aren’t many 90mm lenses with this fast an aperture. The super creamy bokeh and the beautiful lens flare will give you a look that’s otherwise very hard to get. Use this lens on a Leica M mount camera or use an adapter for the Leica SL2 or Leica SL2-s.

Try This: Of any of the lenses here, we really recommend you shoot with this one on a tripod. Manually focusing a lens this long will throw the focus plane off. That’s just how the laws of physics work. However, the Leica M system was designed to be handheld. Alternatively, know your breath! You can shoot a photo at the top of your breath by inhaling fully. If that doesn’t work, release all your breath, and shoot when you’ve fully exhaled.

In our review, we state:

“The Leica 90mm Summilux delivers plenty of bokeh at f1.5. The background just melts away. Grass becomes a blur so smooth, it almost looks like background paper. The longer focal length and full-frame sensor mean there’s still some bokeh to be had when stepping the ...

If NikonRumors gets this one right (and they have a high success rate of doing so), then a film SLR styled Mirrorless body could be coming to Nikon’s lineup soon.

Whether it’s Leica’s M and Q cameras, Fuji’s X series, or the Olympus OM-D and PEN collection, there’s always been something appealing about digital cameras housed in a vintage body. I don’t own cameras from either of these brands. But to me, they represent some of the most beautifully designed digital cameras made. I agree with the views of our EIC Chris when he speaks about the beauty in the design of the Olympus PEN-F (a camera that’s long overdue for an update now). For the most part today, camera brands tend to match each other in specifications such as megapixels, frames per second, high ISO values and noise handling. But where is Nikon?

Where brands like Leica, Fuji, and Olympus are clearly winning is in the styling and ergonomics departments. Porting over classic retro looks stemming from years of experienced designs in their film range has proven to be a winning formula for them. Aside from the Df, I can’t recall a time in recent years when I’ve stopped a fellow photographer holding a Nikon, Canon, or Sony camera to take a closer look at the aesthetics of what they held. It’s almost like these brands have forgotten to include a stylist in their design and R&D departments. The latest update from NikonRumors about an upcoming vintage-looking Mirrorless body from Nikon has really excited me.

What Does the Report Say?

According to the Report, “the new Nikon APS-C mirrorless camera could be retro inspired:

Nikon Df-inspired mirrorless camera with mechanical dials and articulating screen.

Very thin camera body without a handgrip that looks something like the Olympus OMD or Nikon FE10 cameras“

I personally hope that the end design turns out to be the former of the two. This is because the Nikon FE10 (and FM10) weren’t exactly their most memorable models. The production was outsourced to Cosina to keep costs low and make them more affordable to emerging markets. Almost entirely constructed out of plastic, they don’t have a premium feel to them. Patina is a lot more pleasing when it develops on metal bodies (for those of you who excessively use your cameras).

The Df, on the other hand, was well-received among Nikon users. A fully metal body that included functional metal dials, with backward compatibility up to Nikon’s first F mount lenses dating back to 1959; what’s not to like? It was pleasing to hold with a comfortable grip, and they even designed a vintage-looking edition 50mm f1.8 lens to go with it. Nikon could really nail this one if they go down this route.

Long Overdue for Nikon

When reports of the Z series of cameras began floating around some years ago, I hoped Nikon would launch this series with a film era styled body. Even if they’d kept the same Df style body and made it smaller (due to the lack of a prism), I would have bought it in a heartbeat. Nikon has a history of releasing some amazing rangefinders and SLRs over many decades. Like many others, I never stopped to think why these designs never made it to their DSLR range. When it finally did make it to the Df, what stopped them from continuing the trend?

A Mirrorless body like this is what Nikon fans like myself and countless others have been waiting years for. Lightweight, packed with the latest features, but also something that is a thing of beauty to look at. Looks matter for camera bodies because they’re the first thing we fall in love with about them. As photographers, we fight over brands and argue over megapixel counts and low light performances. But we’ll be the first to admire an appealing camera, even from a competing brand.

Vintage styling does not need to get in the way of the functionality of a cameray. I’m stumped over why Nikon didn’t release styling variants of its Z series of bodies yet. Even something as simple as a dual-tone body with an upper silver half would have been someth...