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Canon Rumors · Nov 21, 2017

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<em>The new mirrorless camera and lens unite innovation, ease of use and compact design for exceptional visual storytelling</em></p>
<p><strong>November 21, 2017-</strong> Leica Camera unveils the latest addition to its APS-C system with the Leica CL, a new camera that boasts an exceptional balance of state-of-the-art technology, mechanical precision and intuitive, classic design to make it the ideal everyday companion, a perfect fit for all types of photography. With stunning image quality – even in low-light scenarios – new electronic viewfinder technology and superb video capabilities, the Leica CL is the ultimate tool to capture everyday moments, all customizable to the photographer’s style. Available on its own or in two new camera-and-lens kit options, the Leica CL makes it simple to incorporate the art of photography into one’s daily life.</p>
<p>Alongside the Leica CL, the iconic photography brand is further diversifying the APS-C system’s portfolio of lenses by introducing the Elmarit-TL 18 mm f/2.8 ASPH., the smallest-in-class wide-angle lens with supreme imaging performance.</p>
<p><strong>Evolution of the Leica APS-C system portfolio </strong>

With the launch of the Leica CL, the Leica APS-C System now encompasses two remarkable camera models, the Leica CL and the Leica TL2. In technical terms, the two cameras are equals, but retain stark differences in regards to their design and handling. The Leica CL reflects the traditions of Leica with its iconic industrial design, classic physical button controls and dials, while the Leica TL2 embodies a futuristic look, featuring a touchscreen and full-body aluminium. Coupled with the extensive portfolio of lenses, the Leica CL and Leica TL2 make for a formidable system portfolio offering an array of specialized and distinct photographic experiences.</p>
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<p><strong>Introducing the Leica CL </strong>

The Leica CL is rooted in Leica’s legacy, calling upon the brand’s heritage look with modern technical features. The instinctual and convenient design of the camera features a user-friendly handling concept, providing for an exceptionally intuitive tool whose compact size and light weight allow for maximum mobility. All essential controls are located on its top plate with just two dials for setting the aperture, shutter speed, ISO value, exposure compensation and shooting mode, for quick and intuitive handling. Keeping convenience at the forefront, all relevant shooting information is viewable on the small LCD screen atop the camera, instantly providing settings and exposure parameters at a glance.</p>
<p>Another outstanding feature of the Leica CL is its built-in electronic viewfinder. With EyeRes® technology developed by Leica specifically for this camera, the viewfinder enables a top-tier viewing experience. Most notable among a number of advantages of the built-in EVF, is the ability to preview the brightness and color of the final image before the shutter release is fully depressed, allowing photographers to always be in control over the composition and exposure.</p>
<p>Alongside an impeccable view of your subjects, the Leica CL offers best-in-class image quality. In combination with the high-resolution, 24 MP, APS-C format sensor of the Leica CL, a Maestro II series processor and fast autofocus system with 49 AF points guarantee brilliant photographs in all situations, including low-light scenes. In addition to being an impressive still-picture camera, the Leica CL also captures striking video at a resolution of up to 4K at 30 frames per second.</p>

<p>Keeping connectivity as a top priority, the Leica CL is equipped with an integrated Wi-Fi module allowing photographers to quickly and easily share their stunning photos and videos by email or on social networks with the Leica CL App for iOS or Android. The remote function of the app also provides the capability for mobile devices to be used as an off-camera remote viewfinder, allowing control of exposure parameters, including when shooting with the self-timer function or from unusual angles.</p>
<p>Thanks to the L-Bayonet mount shared by the Leica TL- and SL-Systems, SL-Lenses can also be used without an adapter on the CL and the TL2. Appropriate adapters are also available for using Leica M- and R-Lenses on the cameras, offering unparalleled creative flexibility and making the Leica CL one of the most versatile cameras in the Leica portfolio.</p>
<p><strong>New Leica Elmarit-TL 18 mm f/2.8 ASPH. </strong>

To complement the Leica APS-C system, Leica is expanding the impressive TL lens portfolio with a ground-breaking new lens. Compact and lightweight, the new Elmarit-TL 18 mm f/2.8 ASPH. holds the title as the smallest wide-angle APS-C pancake lens currently available in the market. When mounted to the Leica CL, the camera and prime lens are small enough to fit into a coat pocket or small handbag – providing incredible images everywhere you go. Despite being just 20.5mm (less than one inch) in total length, the lens sacrifices nothing, providing the unrivalled imaging performance all Leica lenses are known for. Travel photography is easy with this light and dynamic lens, especially when paired with the Leica CL.</p>
<p>As a whole, the Leica APS-C System portfolio of lenses offer exceptionally high picture quality and infinite opportunities for creative photography. In addition to the Elmarit-TL 18 mm f/2.8 ASPH., the selection of lenses currently includes three zoom lenses (Super-Vario-Elmar-TL 11-23 mm f/3.5-4.5 ASPH., Vario-Elmar-TL 18-56 mm f/3.5-5.6 ASPH. and the APO-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH.) as well as three prime lenses (Summicron-TL 23 mm f/2 ASPH., Summilux-TL 35 mm f/1.4 ASPH. and the APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH.).</p>
<p><strong>All bundled up </strong>

To make the stunning new Leica CL more easily accessible to both new and current Leica fans looking to make their first step into the APS-C system, the Leica CL will be offered in two bundle options alongside an accompanying lens. The “Prime Kit” will include the new Elmarit-TL 18 mm f/2.8 ASPH lens, while the “Vario Kit” option includes the Vario-Elmar-TL 18-56 mm f/3.5-5.6 lens, allowing photographers to get into this new camera and growing system with a lens that best suits their photography style in an easy-to-grab kit.</p>
<p><strong>Availability </strong>

The Leica CL and Leica Elmarit-TL 18 mm f/2.8 ASPH will both be available from Leica stores, boutiques and dealers at the end of November. The Leica CL body, in black anodized finish, will be $2,795.00 while the Prime and Vario Kits will be $3,795.00 and $3,995.00 respectively. The new Leica Elmarit-TL 18 mm f/2.8 ASPH, in black or silver anodized finish, will be $1,295.00.</p>
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Nov 20, 2017

SkynetTX said:
We don't need superzoom lenses. Something that is good for everything is good for nothing. We buy DSLRs with interchangeable lenses because the Image Quality of a special purpose lens (10-24, 24-70, 70-200) is far better than an all purpose one (10-200 or whatever).

If you substitute "I" for "we" that's perfectly fine. But as written, your statements are ridiculous and manifestly wrong.

mjg79 · Nov 20, 2017

Thanks for the other follow ups. It appears I'm really not the only person who has faced this and that spending on expensive CF cards won't solve it.

I know everyone says it's a landscape camera but I find the auto focus to be great for action (I believe it is officially the same as the 5DIII but in my entirely subjective opinion it seems a slight bit quicker than my 5DIII) and the resolution means cropping can be used for birding and in those sort of situations fast image review sometimes has its uses but I suppose nothing is perfect in life!

bhf3737 · Nov 20, 2017

Tugela said:
There is a physical limit on how quickly mechanical devices such as iris blades can work, so at very high frame rates they will have to be kept stopped down. Most modern Canon DSLRs can image at 60 fps or more, but there is absolutely no way their iris blades can flex at that rate. DSLR focusing works in a different way, and has far fewer focusing elements, so the overhead on the processor is lower. Accurate focusing requires shallow depths of field, and at 20 fps with a full sensor read (which the Canon processors can't handle) when you need to keep the aperture stopped down you are not going to have enough time to calculate the focus point at small apertures. That is the price you pay for very high frame rates. Canon would have the same problem if they shot at those frame rates. At that speed focusing would have to be handled like video focusing, which does not happen every frame but rather happens dynamically over a number of frames and is independent of the frame rate itself. You need the aperture stopped down for that since you are monitoring trends over time and using that to control focusing. Which is fine for video but obviously would less optimal for stills where you would want focus on every frame. That is where the compromise comes in, it is to enable those high frame rates where the data that is used for focus calculation is less optimal. In situations where you have enough data (wider apertures/lower dof) you can focus at those frame rates. The Sony is behaving more like a video camera at those high frame rates, something the Canon can't do unless it also behaves like a video camera (in which case it will experience the exact same problem).

In any case it is academic since I doubt there is any lens that can focus fast enough at that frame rate. No matter what camera you have it is going to be an approximation.

The hardware for 4K is there in the latest Digic, it just isn't implemented due to the processor overheating. The Digic 7 and the DV5 are the same processors for the most part, just like all of the earlier processors came in families. They don't redesign the processor separately for video or stills, the core logic is the same, you just have areas enabled/disabled to optimize performance for a particular application. Likewise the DV6 will be the same as the Digic 8, when it is eventually used. The DV6 implementations appear to have fans as well, so we may still not get hardware 4K in Digic 8, if the thermal envelope is not yet controlled enough.

It seems that there is confusion in your statement about how still and video cameras process images they take.
There are 3 sets of core functionalities in both still and video cameras:
1. A/D performed usually by external circuitry to get the image/video signal in.
2. Core ARM based functions that don't change regularly. These include Connectivity (USB, HDMI, SD/CF Cards), sensor (Wifi, GPS, tilt/level), display (LCD back and top, OVF/EVF), actuators (shutter, focus, lens drives, buttons, etc.)
3. Image/Video processing using CPU and GPU, that includes: audio processing (in and out), image/video processing (compression), and DRAM/buffer management.

Depending on how the sensor array processing is performed (4:2:0, 4:2:2, etc. also number of bits for color 8, 10, etc.) and how much of this is pushed off the CPU/GPU to the sensor chip itself the image/video processing may vary. The image/video processing is done within the CPU/GPU using the stored processing software. The processing itself depends on how much data you want to move, how much processing you need (e.g. noise, color profile, edge smoothing, aberration correction, etc.) and how much compression you want to apply to the data before packaging it and sending to the SD/CF cards.
Therefore, there is no fundamental difference between the way the image and video is processed and everything is done with a combination of software and hardware.
Canon's technology encompasses all three areas. The focus in between frames is a technology that Canon has developed and is included in all newer version of its DIGIC processors.
Heat management is part of the design process. There is no dedicated ventilation mechanism for the CPU. If the whole circuitry produces so much heat, fan is added, e.g. in XF series.
Some other companies concentrate mostly on the third set of functionalities and for some heat management is an after thought.

BillB · Nov 20, 2017

Mikehit said:
An interesting link, Woody.

I did wonder at his comment:

Nikon's putting a lot of pressure on their top DSLRs to produce. The good news is that the D850 is a great camera, and so are the D5 and D500. Nikon knows how to make good products. What they don't seem to know how to do is find true consumer relevance in most of their lower-level products.

Click to expand...

I wonder what he means by 'relevant' - if it means appeal to the customer (and thereby sales) then the only way you can say the D5, D500 and D850 are 'relevant' is by knowing sales against Canon/Sony equivalents: no-one doubts they are all very good cameras but are the things that make them stand out the sort of things that matter to the general market?
Nikon has a way of cascading things like sensors and functions down to their base models so in what way would those models not be 'relevant'?

In comparison to Canon, and pretty much everybody else, Nikon doesn't seem to be doing very much in the Liveview/mirrorless/EVF space. They seem to be betting heavily on high quality DSLR's, a rather pricey segment of the market, and one that may lack much growth potential.

Makes me wonder whether Nikon is heading toward selling it's camera business to Sony, which would suddenly put Sony head on against Canon in high end DSLR's.

PhotoGuy · Nov 20, 2017

I purchased a 24-70 f4 IS recently. I noticed that focussing in live view is very quiet. How does this lens perform with DPAF focusing during video? Do the new USM lenses perform well enough or is STM the way to go?

Adisanut · Nov 20, 2017

I use Macro flash not teach me how to do it.

คาสิโนออนไลน์

Adisanut · Nov 20, 2017

Very pretty photo. This camera is the same. I have to buy this camera.

คาสิโนออนไลน์

Ah-Keong · Nov 19, 2017

REVIEW: Canon 85mm f/1.4 USM IS L lens - featuring Sarah Seal and Lok

https://www.youtube.com/watch?v=ixM4C0Hwewk

Viggo · Nov 19, 2017

Hi!

I'm trying something I haven't tried before. Luminosity masks. I tried to give this image sort of a matte, cinematic look. I don't know if it looks right, but at least I got it looking the way I intended, lol.

Just a quick snap on the way from soccer.
1dx2+35 L II, One Broncolor Siros 800 L in a P70 reflector just outside the tunnel on the right side.
f1.4, iso 100, 1/4000s

midluk · Nov 19, 2017

traveller said:
I wonder if a better solution would simply be to fit a hot shoe with a display connector, like the EOS-M3. If the EVF is more important to your shooting style than this, then probably a mirrorless camera is the answer.

I would have expected to see compatibility with the detachable EVFs in the 6D Mk II. For me this is the most obvious solution to the problem, which takes only very little effort and has the fewest drawbacks in case you don't want the feature. All other solutions I can think of are mechanically bulky and complicated and/or lead to a less bright OVF (if you have a half-transparent surface where you can let the light from the EVF display enter, you also lose some amount of OVF light).

monkey44 · Nov 18, 2017

I'm using CPP to print from ... I process from RAW, then convert, and detail it how I want the image. Then, call up the print menu and it will not give the 8.5x11 any more since the switch to Win 10 ...

I have Photoshop too, so can print from it ... but it was very handy to work RAW right from that DPP and then print. And it's giving me what I need for these prints -- I use Photoshop when I need it, and DPP when it does the job, and gets some very fine prints ...

I'm just puzzled why Win 10 shifts out of 8.5x11 letter, as soon as I call the project a photo-quality ... if down sizes to 8x10 ... Can I work around it, YES, but why would I if it's just a setting I'm missing, or don't see ... stumped!!

larusejunior · Nov 18, 2017

Really, really nice. I have been to Sevilla twice and Cordoba once and absolutely love it. Can I ask where the last photo was taken?

The Entrance is in the "garden of the dance" area. A path leads you to the building basement.

edoorn · Nov 18, 2017

Had one in my hands last weekend at an event and it’s a really tiny but sturdy package! Looks like a great little camera that easily fits in a pocket. Too bad the aperture is not 2.8 constant

RGF · Nov 17, 2017

Re: You Asked for It and It’s Here… Next-Day Service for Canon Professional Services Platinum Member

how about a special gift for Platinum members - a free canon mug 8)

Hector1970 · Nov 17, 2017

I shot a concert two nights in a row with a 5D IV and 70-200mm lens and ended up with a rotator cuff problem in my shoulder that took months to overcome.
I've used a monopod more often since and am conscious not to keep my arm extended for too long.
Its certainly something to be wary of.
Heavy gear can cause issues over time.

Hector1970 · Nov 17, 2017

I'm surprised Olympus is no 1 in Japan for mirrorless. Japanese seem to be loyal to it as a brand.
The OM-D 1 Mark II is a brilliant camera. I've used it quite a bit and its surprisingly good.
Olympus also have great lens. They are so light and compact. Very good quality.
However most of their other cameras have an absolutely bonkers operating system.
I have an OM-D 10 Mark II and it has a mind of its own. Too many options and controls.
It's a shame really as the sensor is really good for such a small sensor.

I'd be curious if Canon is making any money out of the M series.
I would have been in the market to buy one but I've found no model so far attractive.
The Fuji products are far superior. The cost of them is perhaps prohibitive to them having a bigger share but they may have good margins on their cameras.
There are plenty of companies who were once in Canon's position and are now small players because they thought if the kept doing what they are doing they would remain successful.

Canons high ends lens and cameras are still very good and carry the brand name.
It's certainly not the M series that's making the brand desirable.

warrick · Nov 17, 2017

Click said:
Very nice shot, warrick.

Thanks

Rick

bf · Nov 16, 2017

slclick said:
Never happened, so sad.

I agree! I initially thought it's a new rumors but then noticed this was originally posted 2-3 years ago!
For M system, the adapter size and weight is something that matters and counts! The size of such lens might be smaller than the EF-50STM+Adaptor.

hendrik-sg · Nov 16, 2017

I almost can't wait to see all the stupid trash tv commercials in in 8k. Having this great inforntion available, i will buy even more wash Lotion, parfume, Chips, beer, playmobil etc ;D

Hector1970 · Nov 16, 2017

Seeing that you have alot of gear already maybe you need something different.
You could get the Sigma 200-500mm F2.8 for the low light shots.
It has great reviews on Amazon.

Orangutan · Nov 15, 2017

neuroanatomist said:
At least you're in good company...

I prefer to be in good company when I'm right. ;D

James Larsen · Nov 15, 2017

privatebydesign said:
I expect to get one next year, my thinking is with TC's it will give 50mm, 70mm and 100mm TS-E's, my 17 works very well with both TC's so I will have six focal lengths covered with the two lenses.

I'm kind of reinvigorated with Canon, I know that is an unpopular idea! But after the 1DX MkII's this year I'm looking to get a 5DSR MkII when it comes out, this TS-E50, the 85 f1.4 and maybe the 35 f1.4 L (I really like the 35 f2 IS though, so maybe not!).

That's a really smart idea!! Makes me a bit more tempted to invest in one

Drainpipe · Nov 15, 2017

NancyP said:
There is NO OTHER field-usable >1X macro lens out there to compare with the MP-E. Laowa has made an infinity to 2x manual lens, I don't know how good it is. For studio work there are plenty of options using bellows and (purpose-made bellows lens, reversed high end enlarger lens, etc). But every insect photographer I know that works in the field, uses the MP-E and some flash apparatus with home-made diffuser. Bellows are too fragile for the field. Diffuser apparatus breaks? Just build another one for $2.00 worth of raw materials.

I tend to agree with this.

While I’m not discounting the EF-S line, to my knowledge there is no such thing as an EF-S L, or MP-E equivalent.

Tugela · Nov 15, 2017

Mt Spokane Photography said:
It is likely useful for still life photos, its my impression that any movement spoils the effect.

That's a example of how something like the still scene at DPR could mislead less experienced photographers into believing that all their photos will benefit.

I know that some, including me, have a camera support that's bolted down (mine is literally bolted down) In that case I could benefit, except that most of my product photos are drastically downsized for the internet, so my support is bolted down for convenience and to prevent accidental bumps rather than ultra high resolution.

It would, because the final image is made up of multiple exposures. It would be a lot like HDR in that respect. Any element that is moving is going to blur out.

When they first mentioned this feature I was hoping that the shifts would happen a lot faster. Unfortunately it is too slow if anything moves in the frame, so I think it will only really work for some sort of still life/static subject matter.

It should be great for images that work for the technology however.

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