This very special limited edition of the M7 35mm camera comes in silver chrome with calfskin leather accents in two colors, orange and the mysteriously named "etoupe" (sic). Brian likes the orange but I prefer the etoupe—the orange version seems like the one you'd take on a hunting trip, while the etoupe seems like more of a safari jaunt. What can I say, I love animals, and Brian loves eating them.

The M7 includes a Leica SUMMILUX-M 35 mm f/1.4 ASPH. wide-angle lens, lens hood, LEICAVIT M winder and a matching carrying case. There aren't too many changes from the original M7, just a few cosmetic things mostly so the original styling doesn't clash with your new baby cow skin leather. It's pretty much the best-looking camera I've ever seen, and commands the kind of price you'd expect: £8550, or about $14,400 USD. That's incredibly expensive, sure, but the standard M7 costs about $5,000 and these things last forever, so it's not like you'll have to buy the Leica "M7S" (zing!) in six months. The M7 Hermes edition will be available in the UK sometime in December. [Pocket-Lint via Engadget]

Rumors surrounding the launch of this expensive little retro looker have been with us since about November 10, when the expertly named Leica Rumors site broke word that the company sharing their namesake was all but prepared to reveal a limited edition film camera.

Two weeks before that, the M7 Hermes camera was showcased in Tokyo, looking gorgeous. Its presence there was no accident, apparently, as the latest tidbits, mentioned above, are that this M7 Hermes thing is about to skip onto the scene in a mere 24 hours.

For the price of a compact sedan, it could be yours. [Leica Rumors]

What's always been striking about the M-series Leicas is just how substantial they are. In photos, they looks quaint and compact, and you expected them to be small—the kind of comically dinky camera you'd see perched on the face of a German tourist in the 70s, clicking away at nothing. This is not that camera—the $7000 M9 is a monster. Granted it is a full-frame camera, so some heft can be forgiven, but once you've mounted a lens, this thing's not going to be much more totable than your average DSLR. True to form, the mechanisms are satisfyingly mechanical and hark back to the design's origins in film. It's as much a piece of art as it is a camera, which I suppose is part of the whole Leica appeal.

The X1 is in a similar situation: Its body is large for what it is—a compact camera—but so is its sensor. The end result is a moderately compact point-and-shoot that is bigger than all but the bulkiest fixed-lens compacts, but definitely smaller than any DSLR on the market. The pop-up flash, that little circle on the top left of the camera, is a nice design touch.

We'll have to trust that the 12-megapixel APS-C sensor and f2.8, 24mm lens combo returns results that could possibly warrant the camera's $2000 price, but the fact remains that this is a fixed-lens camera, meaning that you're stuck with what you see here. As great as the photos are or aren't, you still can't bolt a new zoom lens or sexy 50mm prime on it. Leica does call this a beginner's camera, so the simplicity could be seen as a plus. At that price, this beginner would probably opt for a killer DSLR with video recording capabilities, but that's neither here nor there.

Anyway, if you're a Leica freak with a wad of cash on hand, the M9 represents a great day for you: The day that your M-mount Leica lenses can be used as they were supposed to be, on a full-frame camera. Likewise, if you're a Leica freak with a wad of cash on hand and a spouse, friend or child you have yet to infect with your fervent enthusiasm for the brand, the X1 is probably going to pique your interest. The rest of us plebs? Well, we'll keep toiling in our frothing sea of Nikons and Canons, or worse. I'll say—I've never gotten so many looks of pity for carrying a Sony DSLR as I did at the press event today. No one looked down on me; they just looked...sad.

Oh, and here's a bonus shot of Seal with Leica's previously-announced medium format S2 DSLR, because, uh, he was here. Hey Seal!

The M9 looks almost exactly like the M8, and for that matter, the 50-year-old M3—it's the same black and silver body, same rangefinder sensibilities, and same lens system. What isn't the same is the full-frame sensor, which is a first for compact cameras like this. The 35mm-equivalent sensor was designed in collaboration with Kodak, and burns an 18-megapixel image. Low-light performance and general image quality should be better than the M8, but more importantly, the larger sensor means wide-angle lenses will really shoot at wide angles.

The X1 is intended for beginners—which means something a little different to Leica than most camera makers—meaning that it's smaller, has a fixed lens, and shoots with a consumer DSLR-sized APS-C sensor. As far as point-and-shoots go, the spec sheet is impressive: photos come in at 12 megapixels, the lens opens to f2.8, displaying on a 2.7" LCD and saving to an SD card. If this setup sounds a bit odd to you, consider that the X1 has been pitted against the Sigma DP2, a $650 fixed-lens compact from earlier this year. That's what this is, basically, except designed for Leica fanatics instead of Sigma fanatics.

In what sounds like a great offer, both cameras come free with Adobe Lightroom for processing their DNG RAW files, but this should be a clue as to the kinds of prices we're talking about. The price for the M9 will be $7000 when it ships in a few days, and the X1—due in December—will more than likely come close to $1000 WHOA, it's going to be $2000. But hey, Leica! Hands-on and impressions to come. [Leica]

The X1 looks just as intriguing, actually, taking a different tack with a 12-megapixel CMOS APS-C sized sensor and funky grip handle. Neither of the pages look like obvious fakes to us, though the specs, which sound damn impressive, are obviously more up in the air authenticity-wise. Still, we'll know for sure come Wednesday, which we're a little more excited for right now. [Thanks Jonti!]

Live Webcast on 9/9/2009 - The next Generation of Leica Cameras from leica camera on Vimeo.

What do these shots show us? Well, nothing. The camera's rumored 18MP full-frame sensor can't be confirmed, and we can't even get a full shot of the body. Luckily the launch isn't far off, and we'll be sure to fill in the gaps once Leica officially announces the camera. [Pocket Lint]

Choose a LEICA MP or M7 other than the standard model, and from the modular component system select the details that match your needs and wishes in terms of style, functionality, and practicality. Options include: lens cap color; leather trim; viewfinder frame-lines; controls; personalized engraving. With over 4000 combination options, even unusual wishes can be met. The Configurator lets you try out your ideas before turning them into reality.

The possibilities are almost overwhelming—but in the end you could create a camera that is personal and truly one of a kind. [Leica via CLDFX via Design You Trust via Core77]

That little red dot with the word Leica etched inside. Everything else, Ken Musgrave says, is the same: "They have the same sensor, lens, LCD, housing material, embedded software, battery, and battery charger. Both take identical pictures." Yet, the Leica "is often described as taking warmer, smoother, somehow better pictures, which would be amazing given the technology is identical."

Update: A few commenters have pointed out that there are a couple minor but significant differences between the two cameras: They say the firmware is in fact different, meaning they process pictures slightly differently, giving the Leica slightly warmer colors, and that the Leica has a less reflective lens coating.

Even if you grant that the pictures the two cameras take aren't exactly the same, they are pretty damn close, as these excellent comparison shots show. Regardless of whether you think they're the exact same or just really close, Musgrave still raises worthwhile question about the power of branding and history on one's perception of quality.

The Leica is definitely a more beautiful camera, though. [FastCompany]

Camera Be Still
When it comes to still shooting, there is no difference between the GH1 and the G1 that Mahoney reviewed last November. It has a digital viewfinder instead of an optical one, which takes some getting used to but tends to work. It's got a huge number of manual and automatic options, as well as some uniquely digital settings, like "film mode" where you can manually adjust the color balance, saturation, contrast and noise reduction of the "film" you're using. Because the sensor is 4:3 (hence the format's name), you can change the aspect ratio to 16:9 for a wider view, but of course you sacrifice some pixels in the process. Update: Reader Ben tells me that no pixels are lost in the aspect ratio switch.

The camera has many of these novel options to keep track of, but it doesn't pay a huge dividend to those who do. As Mahoney said in the original piece, its high-ISO shots are a bit more noisy than most DSLRs, and the lens selection is paltry compared to Canon and Nikon. As someone who carries mainly entry-level DSLRs (and generally wants for nothing more), I found myself simultaneously overwhelmed and unimpressed, though I did manage to eek out a few halfway decent shots, which I've stuck in the gallery below.

All of the above features and capabilities can be found on the $800 DMC-G1. What I tested, though, was the $1500 GH1, with an "H" for "Highdefinitionvideo."

It's Got an H In It
The H makes a big big difference, as David Pogue mentioned, and as Mahoney lamented.

The 1080p video is, in fact, astonishingly good, when you're shooting in the right light with a decent lens. I used two lenses, the highly functional 14-140mm kit lens, and a playful 7-14mm wide angle lens with a touch of the fisheye.

The video comes in AVCHD format, which some people don't like. I don't mind it, though when I previewed it in VLC, it appeared to have a painful amount of compression artifacts. I was going to condemn the camera for that, until I wrangled the video in VisualHub, and found that all of the playback artifacts disappeared in conversion, and probably wouldn't appear in other software. (Panasonic sent me GH1 software, but it was for PCs only, and I didn't have a chance to check it out; some of you already know what to do with AVCHD vid anyway, so I wouldn't make a big deal out of the included software either way.) As you can see in this quick up-close video of Wynona—dropped from 1080p to 500x280 and converted to FLV for your consumption—you can certainly get a lot done:

The rustling you hear is me playing with the camera strap to attract an otherwise lethargic cat's attention; over the weekend, when I shot video of my family, the stereo mic array worked well, as long as I kept my own stinkin' trap shut. Its placement, facing upwards, on top of the flash, means that the shooter's voice is far louder than that of his or her subjects.

Video certainly is the GH1's coup de grace, as others have proclaimed. Practically speaking, it's a damn sight better than the video from the Canon T1i and the Nikon D5000, which are fine for quick snips but lack the autofocus necessary for a nice fluid continuous shot (Touch of Evil opener, anyone?). The GH1 dynamically refocuses well enough, though as you can see in the Wynona video, it can't go super-macro with that 7-14mm lens.

Stupid Money
Still, we're back to the same dilemma here: If moderately video capable DSLRs are selling for MSRPs around $900 (also with decent kit lenses), how can this baby be worth $600 extra? Still-only DSLRs cost in the $600 range—how can the GH1 be $900 more than those?

It's a powerful camera, but I certainly didn't feel as comfortable shooting with it as I do with Canon and Nikon DSLRs, and the video is, after all, video. The argument for video on other DSLRs is their compatibility with all kinds of lenses; here, it's more like a decent video camera without a huge number of lenses. As Mahoney mentioned in the G1 review, you can get a lens adapter and use some nice Leica lenses, but do you really want to go to all that trouble? We'd be better suited for some a handful of interesting, made-for-micro-four-thirds primes.

Even if we get all that, though, the price remains prohibitive. If you are tempted by the video capability of this camera, you are still better suited to buying a nice DSLR and a true HD camcorder of your choosing from Panasonic or Sony or Canon. I wish I could say that the excellent 1080p video tips the scales, but it doesn't. [Product Page]

In Brief:
HD video performance is exceptional for a high-end still camera, and notably better than "competing" DSLRs

Lots of manual digital manipulation means a lot to read up on and remember—it's not easily hidden from the beginner, but in the hands of an undaunted shooter, there's a lot of potential

The camera's entry cost is far too high to justify when it's not a big winner in still shooting, and when HD camcorder prices are dropping

Let me say first that I did not use either of these cameras in their ideal conditions—namely, outside, underwater while swimming. For some reason, Canon and Panasonic did not tailor the release dates of these cameras to coincide with my trip to Egypt a few months ago, which is where I wanted to test them out (why not guys??). Back here in New York, any outdoor body of water is way too frigid right now, and there's something pretty creepy and ultimately unacceptable about taking an underwater camera to the YMCA for test shots. So, instead of the verdant coral reefs of the Red Sea off the Sinai coast, which were straight out of Planet Earth, our test shots are of me playing with a Kraken Attackin' Lego Pirates playset in my kitchen sink. Which is a cool playset, but, you know, not the same.

But still, we've gathered enough data I think to inform your decision, if you're thinking of picking up a waterproof toughcam for this summer. Here are the main points of differentiation I see:

Form Factor/Interface
Both cameras are waterproof, but the Canon D10 is protected up to 10 meters (around 32 feet), where the Panasonic TS1 is only protected up to three meters (around 10 feet). And that's immediately apparent in their shapes:

The D10 looks like it was designed by Ringo on the set of Yellow Submarine—its bulbous shell and porthole-like screws drive home the fact that this baby is going underwater. But on land, it'll be tough to fit it into a pants pocket without some serious bulging.

It does have some nice, easy-to-press buttons for changing into video mode, for instance, and the icons on the LCD screen are nice and big, easily spotted through a snorkeling mask. There are some superfluous button presses to lock in settings which could be tedious underwater, but the UI is not horrible, and you'll easily get used to it. The D10 also has come big screw-mounts on each corner for mounting various underwater grips and other accessories that you can buy from Canon.

The TS1 takes a totally different approach, with a sleek rectangular slab shape that at first glance is hard to distinguish from regular non-tough weeniecams. The buttons are a bit smaller, but not prohibitively so, and shootings modes are selected with a thumb dial instead of dedicated buttons—I didn't see anything I couldn't operate with a bit of practice while snorkeling. A basic locking wrist-strap comes in the box.

The important thing is that the TS1 is not at all out of place in non-toughcam situations, where the D10 may be. But if you're a deep snorkeler, three meters may not be enough for you compared to the D10's 10 meters (I imagine if you're a serious SCUBA diver, you'll need something beefier than either of these), but where you lose usability under water with the TS1 you will gain it on land. Consider that.

Video
Another big difference, if not the biggest, is that the Panasonic TS1 shoots 720p in the AVCHD format, where the Canon only does 640x480 VGA vids. The TS1 video recording mode isn't the most polished—there's a good two to three second delay from when you hit the dedicated video button to when recording actually starts and stops, and it's unclear exactly when everything does start, but if you're OK with that, the HD video mode is awesome. I mean, underwater HD in such a tiny package—that's a no-brainer right? I would kill to have some HD clips of my friends and I swimming around in crazy schools of neon fish in Egypt.

Here are some sample clips from the sink:

TS1 720P Clip:

Note: There is a current bug with the TS1 that makes video imported into iMovie '08 and '09 play at double speed. I had to do some conversion to avoid this, which is a pain. Panasonic says they're working with Apple on this to include a fix in future versions of iMovie.

Canon D10 VGA Clip:

Keep in mind that the AVCHD format is kind of annoying, in that you might have to install special codecs and import video straight into your video editing software of choice and then export it in friendlier formats, rather than just grabbing an AVI or MOV clip from the memory card and uploading it to YouTube.

And yeah, the quality of these videos is pretty bad, but the difference in the actual output is clear: 720p underwater rules.

Shooting
Both cameras are 12-megapixels, for full-res shots at 4000x3000. Both have the same size CCD sensor, but the TS1's ISO goes up to 6400 where the Canon D10's only to 1600. I didn't do a thorough sensitivity test with either camera, but I would imagine you don't want to go much higher than 800 on either one, so the difference is probably fairly moot.

A difference that does matter is the TS1's wider-angle lens: it's a 28mm-128mm f/3.3-f/5.9 effective focal length zoom, compared to the D10's 35mm-105mm f/2.8-f/4.9.

As you can see, color reproduction via the TS1's Leica lens is far better than the D10s, which has to fight through a bit more protective plastic. Also, the TS1 tends to autofocus underwater with much greater ease—important, because you won't always be able to look at the LCD when composing shots while snorkeling.

Conclusion
Like I said, I only played with these cameras in the sink, so I didn't push their waterproof capabilities to their max. But having a waterproof and shockproof camera around the house is kind of cool in its own right—imagine taking bath time photos of your kid without having to worry about getting the camera wet, or taking shots with dirty hands while you're barbecuing, or anything like that. You can always dunk these cameras underwater to clean them off. It's nice. You don't have to be a snorkeler to use them and have fun with them.

Which is why for me, the balance shifts heavily toward the Panasonic TS1. Its form factor makes using it on land a lot more convenient, and the added HD video option is a huge plus. And my ears hurt if I go down much further than three meters underwater anyway. At a premium of only $70 ($400 list vs. $330 for the D10), I'd say it's well worth spending up for.

Panasonic Lumix DSC-TS1
HD video capture

Unobtrusive form factor good for both land and sea

28mm wide-angle lens

Buttons perhaps more difficult to use underwater

Only waterproof up to 3 meters

Canon PowerShot D10
Super-rugged body waterproof up to 10 meters

Big, simple buttons and LCD icons

Only shoots video at 640x480

Very bulky

Details are thin, but the camera will be produced in ultra-low numbers at an undisclosed cost. I guess I'll just get busy with the White Out on my $20 Holga to make myself feel better. [Luxist]

It's heavy, like a piece of war equipment, and feels like its built to withstand aerial bombardment—though it's supposedly a bit lighter than Canon's pro camera 1Ds Mark III. Its sensor size is not quite medium format, but it falls in that range—way bigger than the 35mm-size full-frame pro cameras like the 1Ds or Nikon's D3. It's for studio pros who need massive sensors and megapixels, and will have an accordingly ridiculous pro price.

What I love about it is the interface and design—the back is absolutely barren compared to most cameras, with just a dial, a switch and four buttons for its quadrant-style menu system. Each button dives into a single section, where you adjust the relevant settings. Another neat touch is the focusing setup. Hold the shutter down halfway as usual to auto-focus, but if you want to switch manual, you don't have to slide a toggle—just turn the focus ring.

It's coming out later this summer for a pro photographer or super-rich guy near you. But it's always nice to window shop, yeah?

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days.

We've actually seen most of these cameras already—it's not just Apple, but everybody's schedules revolve less and less around trade shows—since Canon, Nikon and others have already revealed their cameras for the rest of the year, instead of waiting for the Photo Marketing Association show this week. PMA's one of the two major photo trade shows, though it's more about consumer cameras, the ones that'll populate purses and pockets starting this month for "Dads and Grads" season, than the fall Photokina show, which is where we usually see more pro gear.

And as you've already seen, tomorrow's cameras actually look a like today's techwise—just with a few more megapixels (10 megapixels is now the bottom of the barrel, it seems), wider angles (28mm and 24mm lenses everywhere in point-and-shoots) and the mainstreaming of HD video in what used to be simply hold-still-dammit cameras. Maybe there will still be a few surprises, though.

Hopefully our run-up of camera features—a shoot-out between the two hottest cameras you can buy, and primers on why lenses are more important for stunning photos than megapixels—got you hungry for more, since we'll be here for the next couple of days.

Priced at $3000 (the Leica M8 runs about $1000 more), the D1xG is an update to Epson's D1. It keeps the same 6MP resolution (the camera may or may not have a new imaging chip) but gains Adobe RGB colorspace support along with simultaneous RAW and JPG shooting on SDHC.

I dig the style, I just feel like if you're already spending $3000 on an impostor, why not just drop another thousand for the real thing? [Epson via Wired]

Pairing a Micro 4/3 body with loads of vintage lenses is one of the things that could set it apart as a nice, compact alternative to a DSLR, should the price come down for Micro 4/3 bodies. The FD adapter appears to be done DIY style by a Japanese guy with pretty awesome circa-1995 web skills: you can buy for ¥147,000 (~$160), and he also makes a Leica M-Mount adapter as well. Impress took it for a spin with a variety of different old school FD lenses—check out their test shots for a closer look. [Product Page (Translated) via Impress Digicam Watch (translated)]

If you may recall from our G1 review, the camera's DSLR form-factor pretty much nullified all of the potential of the Micro Four Thirds system to offer an entirely new class of compact, digital rangefinder-like cameras with interchangeable lenses. With an M-mount adapter, you can use 50 years' worth of classic lenses made by Leica, Zeiss and others with a Micro Four Thirds digital. Now if Olympus would just get around to making the rangefinder concept they teased us with back in September a reality.

And while you may be better off capturing all that beautiful Leica light on film rather than Micro Four Thirds's sub-APS-C sensor, it's always nice to have options. [Amateur Photographer via Gadget Lab Photo: Enixii (Flickr)]

The S2 will feature a brand new 30x45mm sensor, which sits comfortably between a full-frame 35mm sensor and true medium format (as found in digital backs like Phase One's crazy 65MP P65+). But unlike other massive quasi-medium format cameras, the S2 will have a more compact DSLR form factor similar to Leica's R-series. Nine new Leica lenses will also round out the system. No price, but you know, crazy expensive as always. [Professional Photographer scan on Flickr]

D-Lux 4

GERMANY - 15 September 2008 – The LEICA D-LUX 4, introduced by Leica Camera AG, Solms, is a compact digital camera with powerful optics and a comprehensive range of settings. Premiering with the camera is the wide range of accessories for additionally widening its photographic potential, offering the sophisticated user even more possibilities for creative photography. With its 1/1.63“ CCD image sensor, unusually large for this class of camera, the LEICA D-LUX 4 produces images of superior quality.

The LEICA D-LUX 4 sports a high-speed LEICA DC VARIO-SUMMICRON 5.1-12.8 mm f/2.0-2.8 ASPH. lens with a focal length range of 24 to 60 mm in 35 mm format. Apart from the particularly high speed, it is the ultra-short initial focal length of 24 mm that opens up new creative opportunities in a variety of situations, including landscape, architecture, travel and reportage photography. Its high speed also makes the LEICA D-LUX 4 ideal for available light exposures. Whether shooting in poor light or for selective use of field depth, the lens of the LEICA D-LUX 4 gives the photographer scope for highly individual picture composition. An integrated image stabilizer reliably protects against camera shake in all photographic situations, even in difficult light conditions.

The LEICA D-LUX 4 offers a wide range of optional accessories that extend the camera’s application potential: A black brilliant viewfinder with 24 mm brightline frame can be attached to the flash shoe of the D-Lux 4, enabling the photographer to view his subject without draining battery power. A slot-on compact flash unit LEICA CF 22 is also available for the LEICA D-LUX 4. Another option is an additional handgrip that makes the camera easier to hold. The camera is also prepared for photos in HDTV format: By connecting the camera’s HD port to an HD television set with optional component cable, image slides can be shown in high definition. The range of accessories is rounded off with the addition of high-quality leather cases in black and brown.

“With the add-on accessories, the high-speed optics and intelligent operation concept, the LEICA D-LUX 4 is a truly a “compact” system camera whose performance profile can definitely hold its own in comparison to a professional camera. The unlimited potential for creative photography, the ultra fast image processing and the compact, classic camera design give users of the LEICA D-LUX 4 extra high flexibility for capturing unique moments and unforgettable images,“ says Stefan Trippe, Vice President of Production and Engineering at Leica Camera AG.

The LEICA D-LUX 4 features a noticeably large CCD image sensor for a camera in this class. Measuring 1/1.63“ and offering 10.1 megapixel resolution, it is able to differentiate the finest details and faithfully reproduce tonal values. The new D-Lux 4 can take photos in all three formats (4:3/3:2/16:9) to suit the particular recording or playback situation. The larger sensor size makes it possible to retain the full 24 mm wide angle. The 460,000 pixel camera display has a wide viewing angle and creates an exceptionally brilliant image, enabling photographers to make a reliable and exact assessment of the picture composition both when taking the photo and when reviewing it. The additional possibility of adjusting the viewing angle ensures exceptional display viewing even for extreme camera perspectives.

The high-speed zoom lens LEICA DC VARIO- SUMMICRON 5.1-12.8 mm f/2.0-2.8 ASPH. consists of eight elements (four of them aspherical) in six groups. The optics are individually matched to the camera sensor, working in harmony with the electronics and software to produce stunningly brilliant pictures in true-to-life colors. Regarding color matching, contrast and picture definition, Leica Camera AG has developed its own profile. This is consistent with the picture characteristics that are well known to Leica System Camera customers from their use in combination with professional film materials and specialist development laboratories.The reduction to the essentials and the LEICA D-LUX 4’s strikingly clear and concentrated design exemplify the camera’s typical Leica lineage. The ergonomic layout of the controls and intuitive operating concept make it a pleasure to handle. Focus, shutter speed, stops and exposure override can all be set manually with the joystick. For those who like photography to be less complicated, the camera integrates many improved automatic functions. When the various functions are switched on, the user simply has to press the shutter release button to obtain a perfectly exposed and focused picture. In automatic mode, the camera automatically combines many individual functions to suit the subject and the photographic conditions, controlling the O.I.S. image stabilizer, the automatic ISO control, face recognition, automatic contrast compensation and automatic choice of scene mode.

Like the D-LUX 4 [C-LUX 3], the C-LUX 3 [D-LUX 4] is capable of recording videos in high definition format at the very fast 30 fps (frames per second). This resolution allows the user to display the video captured in full HD on all compatible monitors and television screens. The only limitation to the length of video is the size of the SD card.

The LEICA D-LUX 4 is supplied with a battery charger, a powerful rechargeable battery and a comprehensive software package. A high-quality leather case with smart classic design is also available as an optional accessory.

The LEICA D-LUX 4 will be available in a black finish at authorized Leica dealers from 2008.

C-Lux 3

GERMANY - 15 September 2008 – The LEICA C-LUX 3 by Leica Camera AG, Solms, is a new elegant and high-performance digital camera from the Leica C-LUX line. The slimline compact camera offers easy operation and a clearly structured menu for carefree photography. The LEICA C-LUX 3 has a strikingly clear design that concentrates on the essentials: capturing and reproducing images. This means that the LEICA C-LUX 3 can be used more quickly than many other models in an impromptu moment. The user is not distracted by elaborate menus and is free to react much more spontaneously. The stylish digital camera is available in two timelessly elegant colors: black and white. The color-coordinated cases of high-quality leather are a stylish accessory that make the camera a fashionable companion.

Compared to the predecessor model, the LEICA C-LUX 2, the 10 megapixel LEICA C-LUX 3 offers various technical improvements. Its powerful zoom lens LEICA DC VARIO-ELMARIT 4.4-22 mm f/2.8-5.9 ASPH. provides a wide focal length range from 25 to 125 mm (35 mm format), delivering stunning photos in true-to-nature color from wide-angle to telephoto. Starting at a focal length of 25 mm, the high-speed optics offer a virtually unique wide angle for this class of camera which is particularly useful for space-grabbing shots. Whether for landscapes, architecture photography, interior views or group photos, the LEICA C-LUX 3 can capture the whole spread of the subject with its double-sized image field. Another new feature is the 5x optical zoom that significantly enlarges the camera’s telephoto range.

The LEICA C-LUX 3 also integrates innovative automatic functions. When activated, the user simply has to press the shutter release button to obtain a perfectly exposed and focused picture. In automatic mode, the camera automatically combines the many individual functions to suit the subject and the photographic conditions, controlling the O.I.S. image stabilizer, the automatic ISO control, the face recognition, automatic contrast compensation and automatic choice of scene mode. Improvements have been made to the face recognition function, for example, with which focus and exposure values are automatically adjusted to the faces in the picture. As for the automatic choice of scene mode, the camera selects the most suitable for the particular exposure.

“The LEICA C-LUX 3 sets new standards in the ultra compact camera segment, offering an unbeatable combination of superior technology, high-performance optics and an extra stylish exterior – available for the first time ever in white for users who like fashionable accessories. The C-Lux 3 is therefore an absolute must-have for all those who enjoy spontaneous photography and are looking for a camera that is just as flexible as they are,” says Stefan Trippe, Vice President of Production and Engineering at Leica Camera AG.

With a resolution of 230,000 pixels, the 2.5“ camera display of the LEICA C-LUX 3 shows a brilliant image which helps the photographer compose the picture and accurately assess the result. Due to its generous size, the display can be viewed simultaneously by several people. In wide-angle mode, the display can still be optimally seen, even at a difficult viewing angles, and can be switched to extra bright Power LCD mode for visibility in extremely bright ambient light.

The powerful zoom lens LEICA DC VARIO-ELMARIT 4.4-22 mm f/2.8-5.9 ASPH. consists of seven lens elements in six groups, of which four elements are aspherical. The optics are individually matched to the camera sensor. Due to the skillful combination of optics, electronics and software, the user can enjoy high color fidelity, excellent definition and vivid contrast. With respect to the matching of color, contrast and definition, Leica Camera AG has developed its own profile around the image properties familiar to customers of Leica system cameras and their use in combination with professional film material and development.

Like the D-LUX 4, the C-LUX 3 is capable of recording videos in high definition format at the very fast 30 fps (frames per second). This resolution allows the user to display the video captured in full HD on all compatible monitors and television screens. The only limitation to the length of video is the size of the SD card.

A further key to successful photography is the integrated optical image stabilizer (O.I.S.) that can be activated solely for exposure or for both exposure and camera display. Through consistent compensation of small hand movements, the image stabilization reliably prevents camera shake in any situation. The LEICA C-LUX 3 also features “Intelligent ISO“ automatic exposure control, which automatically detects movements of the subject and raises the film speed to ensure a fast exposure time. With this and the MEGA O.I.S. image stabilization, sharply focused pictures are always guaranteed – even in difficult light situations, such as twilight or interiors, and in the telephoto range.

The LEICA C-LUX 3 has a metal body and great attention has been paid to manufacturing detail. The exclusive use of high-quality materials guarantees a reliable and robust product.

The LEICA C-LUX 3 comes with a battery charger, a powerful battery, an AV, USB and AC cable as well as an extensive software package. Fashionable camera cases in a choice of black or white are also available as accessories.

The LEICA C-LUX 3 will be on sale at authorized Leica dealers from October 2008.

The 10.3 Megapixel CCD-camera has a new "extra quite, low-vibration metal blade focal plane shutter," a top shutter speed of 1/4000th of a second, a new largely automatic snapshot mode, and it's apparently the "first professional digital camera" to use scratch-resist sapphire glass on the LCD screen. It'll work with M-series lenses, and takes SDHC cards up to 32GB. There's no data on pricing (though it'll certainly cost a packet)It's a chunky $6,200, and there's word it's due in October. [LetsGoDigital and Slashgear]