Latest news with #Leica
Engadget
2 days ago
- Engadget
Fujifilm GFX100RF review: A powerful and fun camera that's far from perfect
After watching its fixed-lens X100 VI camera do stratospheric sales numbers, Fujifilm decided to build a bigger and badder version that could go up against Leica's full-frame Q3. The result is the $4,899 GFX100RF, the first-ever 100-megapixel medium format compact camera. The GFX100RF has some novel features, like a crop dial that lets you choose aspect ratios ranging from vertical 3:4 to a panoramic 65:24. It can digitally zoom via a dedicated toggle and offers all the social media-friendly benefits of the X100 VI, including film simulations. You can even shoot medium-format 4K video. However, the GFX100RF has some flaws. Where Leica's Q3 has a fast 28mm f/1.7 lens and optical stabilization, Fujifilm's 35mm lens (28mm equivalent) here is limited to f4 and lacks any shake reduction, hurting the camera in low light. I've used the camera for nearly two weeks now and enjoyed it, but given the high price and quirks, it's definitely not for everyone. The GFX100RF is the world's first 100MP medium format compact camera. It offers incredible image quality and flexibility but isn't great in low light, and the high price makes it a niche product. $4,899 at B&H Photo Video Though it's Fujifilm's smallest medium-format camera, the GFX100RF is still a hefty unit at 735 grams. That's more than many full-frame mirrorless cameras and around the same weight as the Q3. The control layout is similar to the X100 VI with control dials on the front and back, along with exposure compensation, shutter speed and ISO controls on top. What's new is the aspect ratio dial that offers modes for 4:3, 3:2, 16:9, 17:6, 3:4, 1:1, 7:6, 5:4 and 65:24 (the latter pays tribute to Fujifilm's TX-1 panoramic camera). The GFX100RF also has a toggle up front to select 28mm, 35mm, 50mm and 63mm (full-frame equivalent) zoom levels. Those gradually lose resolution due to cropping, from 100MP at 28mm down to 20MP at 63mm. Bokeh is also reduced as the sensor size shrinks. The rear 2.1-million-dot, 3.15-inch display only tilts up and down, but that's fine for the camera's primary street photo role. Though sharp and detailed, the 5.76-million-dot electronic viewfinder unfortunately lacks the X100 VI's signature hybrid display that lets you switch between optical and electronic views. However, it does offer three modes to support the aspect ratio dial and make composition easier. One only shows the selected crop, another shows the full scene with a box around the crop and the third displays everything outside the crop at 50 percent opacity. Fujifilm's GFX100RF includes an innovative aspect ratio dial at back (Steve Dent for Engadget) Battery life on the GFX100RF is outstanding with up to 820 shots on a charge or about 100 minutes of 4K 30 fps video shooting. For me, that amounted to nearly two days of use, which is better than nearly every other (non-DSLR) camera I've tested. The camera also includes dual UHS-II memory card slots plus mic, headphone, microHDMI and USB-C ports. The latter allows not only data transfers and charging, but also SSD video recording. The GFX100RF is essentially a GFX100S II squeezed into a compact body, so performance is similar with up to 6 fps burst shooting speeds. However, each RAW file is up to 150MB in size and JPEGs are 70MB, so even at those slower speeds, you can fill your memory cards very quickly. That said, this camera definitely isn't designed for sports or wildlife, so I didn't use burst shooting often. The autofocus is reliable when shooting single photos, but it's a little laggy for bursts. Using the face and eye detect AI modes helps nail eye focus reliably, but it's not as fast as Sony and Canon's systems. It also supports animal, bird and vehicle tracking, which helped me capture sharp photos of ducks floating on the Seine river in Paris. The GFX100RF has both mechanical and silent electronic shutter modes. Rolling shutter skew is a big issue with this sensor in silent mode with fast moving subjects, though. Luckily, the mechanical shutter eliminates that and is nearly inaudible. The built-in ND filter can reduce light up to four stops, letting you shoot on sunny days while retaining some bokeh. However, the main problem is when there's not enough light. The minimum f4 aperture is simply inadequate and the lack of stabilization exacerbates the issue as you risk blurry photos at slow shutter speeds. In dim light you may need to pack a tripod, which isn't ideal for a compact camera. The aspect ratio and zoom options on the GFX100RF are handy and fun. Some curmudgeons may prefer to shoot full sensor 100MP photos and then just crop later in post production. But the GFX100RF lets you have your cake and eat it, too. You can apply all the crops, zooms and film simulations you want and save them as JPEGs for easy sharing. Then, if you need to go back and change something, you also have the full 100MP RAW image as a backup (though obviously, shooting both will fill your memory card more quickly). Shot at 4:3 aspect ratio, ISO 1600, 1/200th, f/10 As with the GFX100S II, the GFX100RF is a top performer when it comes to detail and sharpness. Colors are pleasing and RAW files retain high amounts of dynamic range, allowing for easy adjustment in Lightroom. And of course, Fujifilm's film simulations give you colorful, nostalgic options — like Reala Ace or the dramatic black and white look of Acros — straight out of the camera. The GFX100RF also delivers beautiful bokeh, with the f4 aperture equivalent to around f3 for a full-frame camera in terms of depth of field (but not light gathering). Like other GFX models, the large sensor produces more dramatic images than full frame for portraits, landscapes or street shots. Like I mentioned, things fall apart when the light dims, though. With no option below f4 and no stabilization, I relied on high ISOs to boost exposure. The GFX100RF isn't bad in this area, with controllable noise up to about ISO 8000, but that's not high enough considering the other factors. For these reasons, the GFX100RF is less versatile than it could be. The GFX100RF can handle 4K and widescreen DCI 4K at up to 30 fps with fairly high bit rates, as long as you have a fast UHS-II SD card. It can even shoot ProRes with at much higher data speeds, but for those, you'll need to record directly to an SSD via the USB Type-C port. Autofocus for video is decent but not incredibly fast, so ideally your subjects don't move too much. The AI-powered face and eye detection helps nail focus when filming people, but again, can fail if subjects dart around. Video has a dreamy quality and bokeh that only a large sensor can offer. Like the GFX100S II, the GFX100RF captures video using the full width of the sensor in most modes, albeit with pixel binning that reduces quality. The sharpest video comes with a 1.32x crop, but that reduces the image quality benefits of a large sensor. Video on the GFX100RF has one thing going for it that the photo side lacks: digital stabilization. This smooths out shakiness for handheld shots, but the excessive rolling shutter limits your ability to move the camera quickly. Colors are pleasing and easy to adjust, particularly when using Fujifilim's F-Log or F-Log2 10-bit modes to boost dynamic range. And of course, Reala Ace, Acros and other film simulations are available in video modes to create great looks straight out of the camera. Fujifilm's $4,899 GFX100RF is a powerful camera with incredible image quality that's hampered by a lack of low-light performance. It's also a niche and expensive product that, unlike Fujifilm's popular X100 VI, only appeals to a small group of photographers. Its primary rival in this space is Leica's Q3, which has a smaller 60MP full-frame sensor and higher $6,735 price tag. However, the Q3 has a much faster 28mm f/1.7 lens, less rolling shutter, a single SD UHS-II card slot and up to 8K video. It also has the Leica brand cachet, which does mean something to people spending this kind of money. The GFX100RF is fun to use, though, and introduces several innovations like the aspect ratio dial. Though it may never have a huge market, I think products like this push the industry in new directions and create conversations that draw new people into photography. So even though I'd never buy one, I'm glad the GFX100RF exists for those reasons.
GSM Arena
22-05-2025
- GSM Arena
Xiaomi Civi 5 Pro is official with Leica cameras, Snapdragon 8s Gen 4
At its very busy event today, Xiaomi not only unveiled the 15S Pro, Pad 7 Ultra, and new Watch S4 eSIM, but also the Civi 5 Pro. This mid-range phone is powered by Qualcomm's Snapdragon 8s Gen 4 SoC, and it comes with a 6.55-inch AMOLED screen with 1236x2750 resolution, 120 Hz refresh rate, 300 Hz touch sampling rate, 2,560 Hz PWM dimming, and 3,200-nit peak brightness. It will be offered with 12/16GB of LPDDR5X RAM and 256/512GB of UFS 4.0 storage. It has a 50 MP main camera with f/1.63 aperture and OIS, a 50 MP f/2.0 60mm equivalent telemacro camera which focuses from 10cm (said to be the exact same one seen in the Xiaomi 15), a 12 MP f/2.2 15mm equivalent ultrawide with 120-degree field-of-view, and a 50 MP f/2.0 selfie camera with autofocus. There is Leica co-branding for the camera system too. Keeping the lights on is a 6,000 mAh battery with support for 67W wired charging. Dual speakers are in, as is an X-axis vibration motor. The device runs Xiaomi's HyperOS 2. It measures 157.05 x 73.2 x 7.45 mm and weighs 184g. There are four colorways: Nebula Purple, Cherry Blossom Pink, Iced Americano, white, and black. Xiaomi Civi 5 Pro colors The Civi 5 Pro with 12GB of RAM and 256GB of storage is priced at CNY 2,999 ($416), if you want the same amount of memory but double the storage it's CNY 3,299 ($458), and for the top of the line model with 16GB of RAM and 512GB of storage you have to pay CNY 3,599 ($499). While the Chinese Civis don't usually make it elsewhere, last year we saw the Xiaomi 14 Civi launching in India, and that may happen again, we'll let you know when we find out more. Xiaomi 15 Xiaomi 14 Civi
India Today
21-05-2025
- India Today
Xiaomi 16's design leaked and this is what it may look like
Just a few months back, India witnessed the Xiaomi 15 (review) launch in February. While it is still a new entry into the Indian market, the rumours around its successor -- the Xiaomi 16 -- have started churning up. According to the latest leak, the Xiaomi 16 is expected to debut in September 2025, but in China only. For context, the Chinese variant of the Xiaomi 15 was launched in October 2024. And if the assumption is current for the upcoming launch, the two phones will have a gap of 11 months, which is fair. In his blog, tipster Majon Bu has shared that the Xiaomi 16 is shaping up to be a strong contender in the premium smartphone segment, with fresh leaks offering a closer look at what to expect ahead of its official debut. Let's take a look at what is coming. advertisementXiaomi 16 renders reveal design A leaked CAD render shared by tipster Maijinbu Official reveals a design that retains some visual elements from the Xiaomi 15 but introduces notable refinements. The back panel sports a dual-tone finish, accompanied by a squircle-shaped camera island in the top-left corner. The module houses three camera sensors, an LED flash, and Leica branding — continuing Xiaomi's ongoing camera collaboration. Xiaomi 16 CAD renders (Credit: Majin Bu) On the front, the Xiaomi 16 is shown with a flat 6.32-inch display featuring slim bezels and a centred hole-punch cutout for the selfie camera. The handset also appears to have slightly curved edges, contributing to a sleek and ergonomic 16: Leaked battery, camera and more advertisement Powering the Xiaomi 16 is expected to be Qualcomm's next-generation Snapdragon 8 Elite 2 chipset, which is set to be unveiled at the Snapdragon Summit this September. It is noteworthy that the same chipset is rumoured to be featured in the upcoming OnePlus 15, which makes them direct competitors. The Xiaomi 16 is also rumoured to run HyperOS 3, Xiaomi's in-house software interface built on Android 16. This positions the Xiaomi flagship to be one of the first devices globally to feature Qualcomm's latest flagship silicon, potentially delivering major performance and efficiency to the render, the phone will feature volume controls and a power button on the left side, while the bottom edge will house a USB Type-C port, speaker grille, and SIM tray. Despite its compact display size, the Xiaomi 16 is rumoured to pack a large 7,000mAh battery, thanks to the adoption of silicon-carbon (Si/C) battery technology — a move that could significantly improve energy density and battery life without increasing the phone's physical Xiaomi has yet to confirm details, the Xiaomi 16 is expected to sport a triple rear camera system led by a 50-megapixel main sensor. The collaboration with Leica suggests that photography will remain a key selling point for the device.
Yahoo
20-05-2025
- Entertainment
- Yahoo
WePlay Studios will host a conference dedicated to virtual production technology, the POSTNAB Production Open House
WePlay Studios, a content-driven production company, is hosting the POSTNAB Production Open House, a three-day event focused on knowledge exchange about video production excellence. The POSTNAB Production Open House will take place on May 28-30, 2025, in the company's newly opened venue for content filming in Inglewood, California. INGLEWOOD, Calif., May 20, 2025 /PRNewswire/ -- POSTNAB Production Open House will serve as a networking and educational event for current industry leaders and practitioners who are shaping the future of film, television, media production and broadcasting today. During workshops and keynote presentations, participants will discuss emerging trends and challenges of the production sphere, as well as the possibilities and future of virtual production technology in content making. Among the confirmed participants of the event will be such production industry leaders as Disguise, AJA Video Systems, HP, The Hollywood Professional Association (HPA), Leica, KeyCode Media, CG Pro, ARRI, Illumination Dynamics, Vizrt, Evertz, True Performance, Global Objects, Filmotechnic. "This initiative was born from the desire to unite the best of broadcast, cinema, and real-time technology under one roof – not to impress, but to inspire. The POSTNAB Production Open House is a celebration of creativity, technology, and human passion to reimagine storytelling. We build this experience in partnership with the industry's most forward-thinking minds because shared innovation drives meaningful change. At WePlay Studios, we believe virtual production is a tool and language that brings together directors, engineers, artists, broadcasters, and visionaries to craft the future of content. We are not just building pipelines – we are building the future of production all together," said Aleksii Gutiantov, head of virtual production at WePlay Studios. Speakers of the POSTNAB Production Open House: Nicholas Lucin, key account manager at Vizrt Ely Stacy, technical solutions lead at Disguise Jake Stone, senior vice president of commercial at Disguise Barry Goch, product marketing manager at AJA Video Systems Stephan Ukas-Bradley, vice president of solutions at ARRI Jacqueline Cooper, сo-founder of CG Pro Art Adams, product specialist, at ARRI Jess Loren, chief executive officer at Global Objects Erick Geisler, chief technology officer at Global Objects Carin Mazaira, marketing manager in media and entertainment at Leica Henry Mountain, sales manager in media and entertainment at Leica Kevin Descheemaeker, general manager at Filmotechnic The event is powered by WePlay Studios in partnership with the industry-leading visual experience platform Disguise under the leadership of the Сity of Inglewood. View original content to download multimedia: SOURCE WePlay Studios
Nylon
20-05-2025
- Entertainment
- Nylon
Interview with Leica photographer, Laxmi, on her incredible photo exhibition that showcases photos of three major festivals in India
Leica Singapore presents one of the most captivating photo exhibitions ever, featuring three major festivals in India, photographed by Laxmi using Leica cameras. The pictures speak for themselves; they are colourful, they evoke emotions, and more than anything, they are thought-provoking, making you wonder how these photos were achieved and the blood and bruises that went into creating them. We had the privilege to speak with the photographer Laxmi, about her pictures, and the meaning behind them. Laxmi Kaul, photo courtesy Leica Singapore. NYLON: What is this exhibition about? LAXMI: Utsav is my love story with India — with its sacred festivals, its deep-rooted traditions, and the people who live them fully. For over a decade, I've immersed myself in documenting three of India's most powerful spiritual festivals: the Kumbh Mela, Holi, and Theyyam. Each one is different in sound, rhythm, and energy — but they're all anchored by one thing: undying faith. If there is no undying faith, there will be no festivals. The photos in this exhibition are basically an amalgamation of three very major festivals that are held; one being the Kumbh Mela, which comes once every 12 years. Then there's Holi — a festival of colours, which happens every year. And Theyyam is another festival down south. The other two are up north in India. The Leica Gallery at Leica South Beach Quarter, featuring Utsav – India in Celebration, a photo exhibition by Laxmi. Photo courtesy Leica Singapore. Each festival is very different in its own way. But the one anchoring point for all the festivals is basically faith. And faith, to me, is a very deep subject. Everybody has their own faith, and everybody likes to follow their own faith in their own way. Faith manifests in different ways, so these are just manifestations of faith in different ways; one with colour and dance, one with taking a dip in the holy rivers and believing that you will get purified and you will be closer to salvation in the journey of your spiritual life… Photo by Laxmi, used with permission. N: What made you want to photograph all these festivals? L: This wasn't a pre-planned project. I didn't start with a roadmap or even a destination. I followed instinct, emotion, and curiosity. What began as something deeply personal — a need to witness, to understand — quickly became something far bigger than me. Photo by Laxmi, used with permission. I photographed the mass pilgrimage of the Kumbh Mela, where millions gather to bathe in sacred rivers. I stood in the explosion of colour and chaos that is Holi. And I was drawn to the trance rituals of Theyyam in the south, where men transform into deities through ancient performance. But more than the spectacle, what moved me was the quiet in-between moments; I didn't want to just photograph the chaos — I wanted to find tenderness within it. I searched for the stolen glances, the sacred silences, the rituals happening quietly behind the noise. The truth of these festivals lives in those moments. Photo by Laxmi, used with permission. At the heart of every image I made is faith. Faith in something larger, something unseen — and deeply felt. Photo by Laxmi, used with permission. If there is no faith in people, That belief is still important; it's very relevant. Photo by Laxmi, used with permission. And if you're not going to hold on to our past, what are we going to show our kids and what are we leaving for them? We're leaving only technology and social media, and that's about it. What about our roots? What about our culture, whether it's Indian, Chinese, Thai, be it anywhere in the world; even Christian or Muslim — what are we leaving for them? I want to leave something. I want to leave a footprint behind for people to know that, okay, maybe 50 years down the line, there's no more Holi celebrated; but look, these are the pictures. This is how it used to be. This is my documentation. This is my love. This is the oxygen that flows through my veins. N: How long did it take you to shoot all the photos in this exhibition? L: This exhibition was shot over a decade starting in 2013. Photo by Laxmi, used with permission. N: What were some of the challenges that you faced while shooting these pictures? These spaces were not easy to navigate, especially as a woman. Often, I was the only female photographer in intensely male-dominated environments. I was met with suspicion, resistance, and in some moments, outright hostility. I felt violated. I cried. I broke down. But I stayed. I had to. If I walked away, what message would that send to the women coming after me? Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. N: What gear did you use to create these photos? L: My Leica cameras were more than tools. They were companions — extensions of my presence. Whether it was the weatherproof SL during Holi, the intimacy of the M10 with my favourite 50mm lens, or the agility of the Q and Q3 — I shot openly, vulnerably. I never shielded the gear — or myself. I leaned in. For Holi, I used the Leica SL a lot because it's all weatherproof. I also used the Leica M10. I was wearing a raincoat, and I would open the zip and quickly take the M10 out and take a picture and put it back in, just to conceal it. Portraiture has always been the soul of my work. I gravitate to the 50mm because I crave connection — eye to eye, human to human. When the space got tighter and the crowds closed in, I adapted. I went wide. I moved quickly. But always with intention, and always from the heart. Photo by Laxmi, used with permission. But because it's Holi and it's such a large scape, I did shoot with the 28mm lens a lot. [Compared to the M], the SL, of course, is a bit more lenient. I had the 24-70 lens so it gave me a little bit more breathing space so I could be a little further away from the line of fire, and the men getting upset about a woman being there. I could move away and zoom in and use the 70 and shoot. The Leica Gallery at Leica South Beach Quarter, featuring Utsav – India in Celebration, a photo exhibition by Laxmi. Photo courtesy Leica Singapore. I don't go to take photographs. I go to feel. My camera is not just how I see — it's how I listen. The photostories in this exhibition, Utsav, have been unfolding since 2013. This is not just a collection of images. It's a testimony — of identity, of belief, of survival. These traditions are fading, slipping through our fingers. If we don't preserve them, what are we leaving behind? Algorithms? Filters? Noise? Where are the roots? These images are my offering. My proof that this existed. That it mattered. They are not perfect pictures. They are lived truths — of devotion, surrender, resilience. This is the story of faith. The story of people. And through it, I found not just their soul, but my own. Laxmi Kaul's Photo Exhibition, Utsav – India in Celebration runs from 16 May to 30 July 2025 at Leica South Beach Quarter (located at 36 Beach Rd, #01-01 South Beach Quarter, Singapore 189766).
