difference between viewfinder and lcd screen made in china

LCD screens are great, and the quality improves with each new generation of DSLR cameras appearing on the market. But, many professional photographers prefer to use a camera"s viewfinder. We explain the benefits and disadvantages of each.

LCD screens have advantages, but so do optical viewfinders. When it"s time to frame a photo with your DSLR camera, you need to decide which side of the viewfinder vs. LCD debate you lean. Unlike the optical viewfinder, the LCD screen displays the entire frame that the sensors capture. Optical viewfinders, even on a professional level DSLR, only show 90-95% of the image. You lose a small percentage on the edges of the image.

Digital SLRs aren"t light, and it"s easier to produce a crisp, sharp image when you hold the camera up to your eye to use the viewfinder. That way, you can support and steady the camera and lens with your hands. But, viewfinders are generally smaller than LCD screens. Viewfinders are also less convenient to use, especially if you wear glasses.

At the end of the day, though, as intelligent as digital cameras are, the human eye can resolve more detail than an LCD screen. You get a sharper and more accurate view of your image by using the viewfinder.

The biggest drawback with LCD screens is probably shooting in sunlight. Depending on the quality of the screen, you may not be able to use it in bright sunshine because of the glare. All you see are reflections off the screen. Also, the crystals contained within LCD screens tend to flare in bright sunlight, making the situation worse.

Holding the camera at arm"s-length while looking at the LCD screen—and then keeping the camera steady while zooming in on a subject—takes effort. When you use the LCD screen this way, you often end up with a blurry image.

No matter how good an LCD screen is, it"s unlikely to give an accurate overview of the image you took. Most overexpose an image by as much as one full stop. It"s best to acquire the technical knowledge about photography, rather than rely on the LCD screen to determine image quality. With this technical knowledge, you"ll have the confidence your settings are correct, and your images are properly exposed. So, in most cases, it"s best to use the viewfinder. But, if you like the convenience of an LCD, or you wear glasses, use the LCD. It"s mostly a matter of personal preference.

Depending on the image, there could be noticeable differences when viewing via viewfinder versus the LCD screen - the camera has default settings and image taken in natural daylight. The viewfinder is reasonably accurate as close to the image displayed on a computer. However the same image on LCD can be "off" in terms of whites having a slight tinge of yellow hue and also other slight shading differences.

Has anyone else noticed this as rather frustrating to have the differences. Also this means having to double check with the more accurate viewfinder to avoid unnecessary corrections.

Whether you"re shooting with a DSLR or a mirrorless camera, there are times when it"s easier to use the camera"s viewfinder rather than the LCD screen, and vice versa. For example, it"s usually easier to hold the camera steady when it"s held to your eye because it"s braced against your face. It"s also easier to follow a moving subject in a viewfinder than it is on a screen with the camera at arm"s length.

However, when you"re shooting landscape, still life, macro or architectural photography with the camera mounted on a tripod, the larger view provided by the LCD screen is extremely helpful. Similarly, when you want to shoot from above or below head height or at an angle, it"s very convenient to frame the image on a tilting or vari-angle screen instead of trying to use the viewfinder.

It"s also very helpful to use the LCD screen when you"re focusing manually because the Live View image can be zoomed in to 5x or 10x magnification. This provides a very detailed view of any part of the image, making critical focus adjustments much easier.

On the EOS 90D in Live View mode and on mirrorless cameras including the EOS R5, EOS R6, EOS R, EOS RP, EOS M6 Mark II and EOS M50 Mark II, you can also enable Manual Focus Peaking (MF Peaking), a visual aid to show which parts of the image are in sharpest focus. In theory, areas in focus will coincide with the greatest contrast, so the image is evaluated for contrast and these areas are highlighted on the display in a bright colour of your choice. You can see the highlighted areas of the scene change as you change the focus.

Bear in mind, however, that using your camera"s rear screen for extended periods will have an impact on battery life. Using Live View on a DSLR is also not recommended when you want to take fast bursts of shots, because it will usually reduce the continuous shooting speed. At the other extreme, if you"re shooting an exposure that lasts for multiple seconds or minutes, an optical viewfinder can cause a particular problem: stray light can enter the viewfinder and interfere with the exposure. To prevent this, use the eyepiece cover provided on your DSLR"s strap.

EOS cameras with an EVF have a proximity sensor that will automatically switch from the rear screen to the viewfinder when you raise the camera to your eye (although you can optionally disable this).

The benefits of the viewfinder and LCD screen are often compared with one another. Depending on whom you ask, you might hear remarkably different opinions on the usability of the two.

Let’s go through some of the pros and cons of both and present you with an objective case for why you should pick one over the other. Keep in mind that this isn’t meant to dictate which shooting method you should use. There are valid reasons to use both; it just depends on the situation.

As discussed above, photography is all about precision. Viewfinders have been around long before LCD screens, and therefore many photographers find viewfinders more comfortable to work with.

Viewfinders offer much more precision when you are shooting, especially on a bright day. It allows you to focus on the small details. Viewfinders reduce image distortion and capture an accurate image. That’s why most DSLRs and high-end mirrorless cameras today still have viewfinders.

Running out of battery is a nightmare for photographers, especially if you don’t have any spares. That’s why viewfinders are considered optimal in these situations. Viewfinders use comparatively much less battery than LCD screens.

If you are shooting in an area where electricity is scarce, or don’t have access to a charger or backup batteries, the viewfinder will be a better choice for you.

Viewfinders are very convenient to use and provide smooth handling. When looking through the viewfinder, it’s easy to keep the camera steady. This makes the viewfinder an optimal choice when you need to zoom in or have a slightly heavier camera.

For many people, this extra effort of adjusting your eyeglasses is troublesome. However, some viewfinder cameras have a built-in diopter that can help make it easier to use with glasses.

Viewfinders can be much smaller compared to LCD screens. As a result, you may not be able to see everything you’re capturing in the viewfinder accurately. This drawback is very important for photographers who want to preview every single detail when taking a picture.

To see details on viewfinders, especially the electronic ones, you have to zoom in on the frame. However, this can lower the resolution of the preview. Luckily, if most of your shots consist of zoom shots, this may not bother you much.

What sets LCD screens apart from viewfinders is their ability to provide 100% image coverage to the photographer. In comparison, cameras with a viewfinder offer around 90-95% of the image, sometimes less.

What you see through the viewfinder doesn’t always end up in the final result. Small details can be crucial. That’s why this 5-10% difference in image coverage can be a significant reason why you might choose an LCD screen over the viewfinder.

When you are in a lower field-of-view, framing can be much more difficult. Many people can’t take a picture while lying on the ground using a viewfinder. This is where LCD screens come in. Flexible LCDs make it easier for you to capture images when you can’t reach awkward angles.

LCD screens produce great results for night photography. LCD screens are often used for night photography due to their bright image playback quality. They help you focus on the small details when you are shooting at night.

An evident shortcoming of the LCD screen is its lack of utility on a bright day. Because of the glare, many people cannot use their LCD screen at all on a sunny day. It’s hard to see anything on the LCD except the reflections.

Another drawback to using an LCD screen is its difficulty in handling it. Holding the camera while looking through the LCD screen is difficult and takes a lot of effort, especially when you are zooming and trying to be precise.

Another disadvantage of LCD screens is the fact that they can easily overexpose your image. This should not be a problem for seasoned photographers who can improve the quality of the image with better handling and precision.

Those were some of the benefits and drawbacks of using a viewfinder and LCD screen to consider. So, which one is best? The answer depends on your personal preferences and budget.

If you’re a traditional photographer, you’ll probably be more comfortable with the viewfinder. If you are a photographer who likes to focus on small details and image quality, you should opt for the LCD screen.

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Whether you"re shooting with a DSLR or a mirrorless camera, there are times when it"s easier to use the camera"s viewfinder rather than the LCD screen, and vice versa. For example, it"s usually easier to hold the camera steady when it"s held to your eye because it"s braced against your face. It"s also easier to follow a moving subject in a viewfinder than it is on a screen with the camera at arm"s length.

However, when you"re shooting landscape, still life, macro or architectural photography with the camera mounted on a tripod, the larger view provided by the LCD screen is extremely helpful. Similarly, when you want to shoot from above or below head height or at an angle, it"s very convenient to frame the image on a tilting or vari-angle screen instead of trying to use the viewfinder.

It"s also very helpful to use the LCD screen when you"re focusing manually because the Live View image can be zoomed in to 5x or 10x magnification. This provides a very detailed view of any part of the image, making critical focus adjustments much easier.

On the EOS 90D in Live View mode and on mirrorless cameras including the EOS R5, EOS R6, EOS R, EOS RP, EOS M6 Mark II and EOS M50 Mark II, you can also enable Manual Focus Peaking (MF Peaking), a visual aid to show which parts of the image are in sharpest focus. In theory, areas in focus will coincide with the greatest contrast, so the image is evaluated for contrast and these areas are highlighted on the display in a bright colour of your choice. You can see the highlighted areas of the scene change as you change the focus.

Bear in mind, however, that using your camera"s rear screen for extended periods will have an impact on battery life. Using Live View on a DSLR is also not recommended when you want to take fast bursts of shots, because it will usually reduce the continuous shooting speed. At the other extreme, if you"re shooting an exposure that lasts for multiple seconds or minutes, an optical viewfinder can cause a particular problem: stray light can enter the viewfinder and interfere with the exposure. To prevent this, use the eyepiece cover provided on your DSLR"s strap.

EOS cameras with an EVF have a proximity sensor that will automatically switch from the rear screen to the viewfinder when you raise the camera to your eye (although you can optionally disable this).

Shooting with the rear LCD screen on your camera may be convenient, but you"re also peering through a filter of colors and shades that you may not have been aware are altering the way you perceive your shots.

There are several reasons why you might want to take photographs using the rear LCD screen on your digital camera. It could be to overlay information such as a spirit level, camera settings, or to utilize the rule of thirds grid in order to achieve better composition. Perhaps you wear glasses or have an issue with vision in which using the viewfinder may detrimentally impact your ability to compose or shoot. It might even be that you"re shooting with your camera at awkward angles, maybe holding the camera down low to the ground to capture a macro shot of a flower or perhaps overhead at a crowded concert, where a tilting or vari-angle screen can be articulated to help with composition.

Camera brands use different LCD screens, so you and a friend could be taking a picture of the same scene and end up with wildly different-looking results when doing an image review together. Even models within specific manufacturers use different screens, so the reliability and uniformity of each screen for things such as color can be over-emphasized.

With the advent of mirrorless cameras and the introduction of the electronic viewfinder (EVF), we now have digital cameras where we literally can"t avoid shooting and reviewing photographs through a screen. The benefits of using an EVF over the rear screen is that the screen is sheltered from reflections and extraneous light, which can affect the perception of photos when using the rear screen. However, these tiny little screens inside a small box in the camera still don"t produce an ideal picture of your photographs.

Whatever the reason, it"s important not to rely on the scene on your rear screen. An assumption that what you see is what you"ve taken is tempting but a little foolish. That"s because the screen has a limit to the light and shade it can display. It also has a color balance, which can affect the white balance or color profile you attribute to shots. This unintentional filtration can have a negative effect on how you capture images. Some cameras have the option to turn the brightness of their screen up and down, which also affects how images on the rear screen are seen (whether using live view or to display photos already taken) as well as altering color balance of the rear screen manually. One way to mitigate this is to turn on the histogram and use that.

Notwithstanding these options and difficulties in the limitation of the screen technology, where you view your photos also has a big impact on what you see. Looking at a screen at night, for example, you might need to turn the brightness down to avoid blinding yourself. The vivid lower frequency colors of sunset or sunrise light may be cascading warm tones across and around the screen, forcing you to perceive the color temperature in the photograph differently. If you don"t believe me, have a look at color theory illusions online, and you"ll see just how easy it is for the eye to be tricked into perceiving things as the same, even though they"re different, or seeing the same colors or shades in a scene when in fact they"re completely different (remember the dress from 2015?).

That"s why I suggest you can maintain a healthy balance between relying on your rear screen for certain aspects of shooting such as composition, leveling, framing a scene, and getting a rough visual idea of how the photograph is coming together. But I would advise against relying on the screen to discern color, brightness of highlights and shadows, and other such optical aspects. For this, I would recommend the use of the histogram in camera, especially when needing to check if highlights or shadows have been over/underexposed and have become clipped. Your camera may also have a dedicated function to alert you to this. This and combining the approach with color swatches and gray cards can be a very good way to attain accurate color and exposure values in photographs.

It"s good practice to take stills in raw format, where the color and exposure is much more flexibly editing in post-production image editing software and study images on a decent monitor screen that can display a wide color gamut with deep shadows and bright highlights to get the most accurate view of what your photographs actually look like.

Try to view them in a low-light room with minimal reflections. You might want to consider using a screen hood to remove unwanted reflections further from obscuring your view (think of viewing shots on the rear screen outside during the midday sun and how difficult it is to see what"s going on without putting your hand round to screen to shade it from the bright light). So, although the rear screen is incredibly useful, it"s important not to rely on the rear screen for color rendition and exposure accuracy and instead look for more reliable methods for balancing your digital photos.

If you"ve had a shoot ruined by the color or brightness bias of your rear screen or perhaps think that the rear screen is the better way to compose shots over the optical viewfinder or relying on a good photographic computer monitor, then I"d love to hear your thoughts in the comments below.

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If you are new to Fujifilm or simply looking to upgrade to the latest and greatest that Fuji has to offer you have probably looked for comparisons of the Fuji XT4 vs X Pro 3 but how do you choose between them. What are the main differences and more importantly what are they like to use?

I’m fortunate enough to own both of these top of the range APS-C models from Fujifilm and have used them both extensively. I bought mine from Amazon as I like their returns policy and customer service.

I love them both for very different reasons which I shall go through after explaining the more obvious differences in this Fuji XT4 vs X Pro 3 article. If you want a more detailed review of the Fuji XT4 then click here or watch my Fuji XT4 video review on youtube. You can also see the video version of thisFuji XT4 vs X Pro 3 article here

One thing that I should mention straight off the bat is that if you are a videographer then you can skip the rest of the article and just purchase the Fujifilm X-T4 as it is much more suited to video work due to its larger battery, fully articulating screen and better video specs including 4k 60 and 10 bit internal recording as well as IBIS.

The Fuji X-T4 is like a sports saloon car, it can go fast and do virtually everything that a 2 seater convertible can do but with a bit less style and of course you can’t put the roof down on a sunny day (the roof in this case being the X-Pro 3’s hybrid viewfinder).

Both are weather resistant and I have no issue using either of them in less than perfect weather. The feel in the hand offers very similar build quality but in a different way. The XT4 feels more dense and solid and it should as it weighs 609g vs the X-Pro 3 at 497g.

The XT4 feels very solid, weighty and like a workhorse with its enlarged grip (compared to the XT3). It is a very nice design and I must admit that I do like the look of the camera. However the X-Pro 3 feels different to other cameras due to its range finder esque styling, beautifully machined and subtle finish. I should say that I have the standard black version not one of the Dura coated models.

The X-Pro 3 is probably the most beautiful camera that I have ever owned and that includes models such as the X100T (in silver) and a Silver Pen F, both of which are among the best looking digital cameras ever created. Pictures on the internet don’t do it justice. They really don’t.

In use there is no denying that the XT4 makes more sense for most people.  It offers an individual ISO dial rather than the slightly fiddly design on the X-Pro 3 where you have to lift the shutter speed dial and twist it to your desired ISO speed. This also feels like a weak point that may be prone to break in the future but to be fair it hasn’t yet.

The other main physical difference which may or may not affect you depending on your shooting style is the XT4’s fully articulating LCD screen vs the highly contentious inward facing screen on the X-Pro3. The Screen on the X-Pro 3 faces inward and only opens downward. This Is supposed to encourage you to use the viewfinder and avoid constantly chimping your images giving a pure and authentic photographic experience. Okay, I made that last bit up but I think that is the general idea.

The screen on the X-Pro3 while not conventional is actually not a dealbreaker for me unlike for some. It actually works well in practise and as I use the camera purely for stills, particularly, street, candid portraits and documentary photography it offers the only function I would ever want in those scenarios which is the ability to shoot from the hip on the street in order to be discreet. Plus if I want to review my photos I can easily do so via the EVF.

The rear of the screen has a second display which is permanently on and shows the current film simulation with what looks like the label of old Fujifilm film emulsions. Maybe it’s a bit cheesy but I quite like it. The display can also be changed to show your current shooting setting.

As much as I like the X-Pro 3’s rather novel LCD screen there’s no denying that for most, it is not as useful as the fully articulating one found on the XT4. If I was solely a street shooter or just taking travel/documentary type stills then my opinion would be different but as I shoot a lot of landscapes as well as some video too, the fully articulating screen offers more flexibility. I can reverse it to check framing when creating video and it offers a variety of positions should I be shooting at high or low angles as well as in portrait orientation. It also closes with the LCD screen facing inward which means  it is protected and you can ignore it altogether should you wish.

In the end which screen you prefer will depend on what type of photographer you are and how you shoot. I imagine that someone coming from using their mobile phone for photography would find the X-Pro 3’s screen quite limiting. However I very rarely use the LCD screen on any camera to compose my photos so being forced to use the viewfinder simply is not an issue for me.

I choose whichever one will serve me best for whatever I plan to shoot on that occasion. If I’m heading out for landscapes I grab the XT4 along with the 10-24mm and 55-200mm lenses. If I am going on vacation with the family and just want a camera with me for candid shots of them and anything else encountered then I usually put the X-Pro3 with the 23mm 1.4 or 35mm f/2 in a small bag along with the 56mm 1.2, a spare battery and a powerbank. IMO the X-Pro 3 suits prime lenses and the XT4 works better with the zooms. Both of course can work well with either.

The EVF on both models is virtually the same although the XT4 offers a little more magnification at 0.75x vs 0.66x and aa much larger viewfinder eye cup which helps to shield the viewfinder when shooting in bright sunlight. . In use the differences are hardly noticeable. Even though I am left eye dominant I am fortunate to be able to use either eye. The range finder style viewfinder on the left of the X-Pro 3 does have some advantages when shooting people as you are not quite so hidden behind the camera. This allows me to  feel more connected with my subjects and be more aware of what is happening outside of the field of view of the viewfinder.

The hybrid viewfinder on the X-Pro 3 offers all the benefits of an EVF as well as providing an OVF. Using the lever on the front of the camera you can very quickly change between the two. You can also superimpose a small electronic image onto the OVF which can aid in focusing.

The design is excellent and although I have preferred EVF’s for sometime now the OVF can come in very useful when shooting on the street.  For instance, it would allow you to perfectly time someone walking into frame and capture them in exactly the right position in your image due to the lack of any delay.

If you are a travel/ landscape photographer and would rather not bring along your tripod then the IBIS in the XT4 is at its most useful. Allowing you to keep the ISO as low as possible to ensure the best possible image quality. I have found that with the Fuji 10-24mm lens I can consistantly handhold shots at the wide end down to 0.5 seconds. As useful as this is, if I am going out to do landscape photography then my tripod will be coming with me and so the IBIS becomes redundant. It is useful for grabbing quick shots which would otherwise require bumping up the ISO so it does add a level of flexibility that the X-Pro 3 lacks.

When out and about shooting street and documentary photography I have noticed that I get a better reaction to the X-Pro 3 than the XT4. The design is minimalistic with no obvious Fuji logo on the front of the X-Pro3 and the classic range finder esque styling seems to be viewed as less threatening. I guess it looks more like an old film camera, a novelty if you will and so people pay it less attention or they enquire in a positive way about what camera it is. Yes you will get asked if it is a film camera quite a lot. Either way the reaction or lack of definitely makes me feel a little more confident and comfortable pointing it at strangers on the street.

As an owner of both models my opinion is that for pure stills, perhaps with a focus on candid/street/documentary photography the sheer pleasure of owning and using such a unique camera would have me gravitate towards the X-Pro3 even though it is less flexible, less fully featured and actually more expensive than the XT4. For this type of photography I prefer using prime lenses and that is where the X-Pro 3 makes sense and shines. Attach the 23mm, 35mm or 50mm f/2 prime lens on the X-Pro 3 and you have a  discreet, lightweight, weather sealed and very capable camera that (without sounding too poncy) epitomises the joy of photography, at least for me. It is a pleasure to use and it doesn’t hurt that it is as beautiful as it is capable.

With all that said, for 90% of photographers the XT4 is probably going to make more sense. It is cheaper, more capable, more comfortable to hold for long periods has better battery life and works better with Fuji’s zoom lenses (especially the red badge lenses) thanks to the larger grip and the option of a battery grip.

Add in the IBIS, fully articulating screen and better video options and it is one of the most well rounded mirrorless cameras available in any format and despite my love of the X-Pro 3, it is the one I would choose if I had to pick only one camera. However it doesn’t make me feel the way that the X-Pro 3 does and there is definitely something to be said for that.

The VF 700-H is a compact, high-quality, flat panel color viewfinder designed to work with Grass Valley LDX system cameras. The stylish design allows for direct mounting to the mini wedge plate of the camera head in both EFP and SuperXpander configurations. With native HD 1920x1080 pixels, panel focusing becomes easy. In combination with high brightness and contrast, and a fast display refresh rate, the VF 700-H is the perfect color viewfinder for both indoor and outdoor applications.

Key features of the M11 include an expanded sensitivity range of ISO 64-50,000, the latest-generation Maestro III image processor, extended battery life, USB-C connectivity, 64Gb internal storage, a 2.3 million pixel touchscreen LCD, and a more streamlined and intuitive menu system.

The new M11 that Leica sent us for review is the classic silver chrome version, which features a full-metal housing made of magnesium with a brass top plate and black leatherette covering weighing in at 640 grams / 1.2 lb including the battery.

There is nothing resembling a traditional handgrip provided with the camera at all, just a raised thumb-shaped rest on the rear. Having said that, the solidity and weight of the silver M11"s build means that it didn"t feel like the camera would suddenly slip from our grasp at any point.

The top plate of this version of the M11 is milled from a solid block of brass, ground and polished by hand in a painstaking 40-minute process, which combined with the full-metal, magnesium alloy chassis results in an immensely solid feeling camera that goes some way at least to justifying the sky-high price-tag.

Special rubber seals provide some protection against light showers and dust, although Leica stop short of claiming that the M11 is fully weatherproof.

The Leica M11 has a brand new 60 megapixel full-frame BSI (BackSide-Illuminated) CMOS sensor developed especially for the camera, a 50% increase on the resolution offered by last year"s 40 megapixel M10-R model.

In conjunction with the newest Maestro III image processor, this allows the M11 to output 14-bit raw files with a claimed dynamic range of up to 15 stops, provide an extensive ISO range of 64-50,000, and shoot 60 megapixel images at 4.5fps.

It also has a special IR + UV cut filter in front of the sensor which corrects even the most oblique rays of incident light and a new colour filter array that offers more natural colour reproduction than previous M-system cameras.

Whilst 60 megapixels will undoubtedly be a big draw for potential owners of this camera, Leica have also sensibly provided two smaller 36 and 18 megapixel modes which help avoid some of the processing and storage challenges of the the 60 megapixel mode while also boosting the burst shooting buffer times. In addition the smaller modes are claimed to also offer mproved dynamic range and noise levels because of the unique pixel binning process.

Another welcome change connected to the image sensor is the way in which the M11 meters light. Previous models used a very basis centre-weighted metering system when using the camera in rangefinder mode, whereas the M11 additionally offers multi-field and spot metering in all modes, including rangefinder mode, as it now uses the image sensor for metering rather than the shutter curtain.

Speaking of the shutter curtain, the M11 is the first ever M-series camera to offer an electronic shutter in addition to its traditional mechanical shutter. This allows it to offer a top shutter speed of 1/16000th second in addition to the 1/4000th second speed when using the mechanical shutter, which in turn allows you to shoot both completely silently without vibration and also shoot at wide-open apertures in bright sunlight using the fastest Leica lenses without having to employ an ND filter.

The M11 is a very traditional camera that doesn"t provide any form of image stabilisation, either in the camera body or in the M-series lenses. Leica have made one key improvement, though, which makes focusing in live view mode easier than before, namely the addition of electronic stabilization to the magnified view when using the the rear LCD or optional Visoflex 2 EVF.

The front of the Leica M11 is adorned with the famous red Leica badge and logo directly above the lens. Top-left of the lens, if viewing the camera front-on, is a rectangular porthole containing the traditional AF assist/self timer lamp.

A silver lens release button is on the left-hand side of the lens mount, and over on the right is the very traditional frame-line selection lever, which allows you to see the field of view of various lenses without actually having to mount them on the camera (in the dual combinations of 28+90mm, 35+135mm, 50+75mm).

The configurable function button that was on the front of the M10 has been more logically moved to the M11"s top-plate, alongside the shutter button, which when pressed displays a magnified view on the LCD screen to aid with precise focusing adjustment.

Squeeze the shutter release button in single shot mode to take a maximum 60 megapixel resolution photo and the screen instantly displays the resultant image.

Take a top quality JPEG and Leica"s "DNG" file version of Raw and the camera isn"t any noticeably slower, with the advantage of the DNG format that it can be opened directly by Photoshop without any specialist conversion software required.

If you want to shoot at 4.5fps for longer, dropping down to M-DNG/36MP increases the buffer to 30 Raw files, and down again to S-DNG/18MP provides unlimited shooting, even when shooting RAW.

The M11 has a dedicated top-plate dial via which manual adjustments can be made to the shutter speed, ranging from 8 seconds to 1/4000th of a sec, with Bulb and Auto options too.

Naturally there is a vacant hotshoe for an accessory flash on top of the camera, which also accepts the optional Leica Visoflex 2, a 3.7 megapixel electronic accessory viewfinder if you prefer to compose with an EVF.

The shutter release button is threaded for a traditional screw-in quick release cable, and is encircled by the On/Off switch, with the camera taking about a second to ready itself for shooting.

You have to lift it up to unlock it, which is a little awkward given its diminutive size, but does prevent it from being accidentally moved. While this interrupts the classic rounded styling of the Leica M11"s design, it does mean that all of the core shooting parameters can be set via external controls, with no need to actually turn the camera on and use its menu system, which makes for a very pleasant shooting experience.

When you do need to use the camera"s main menu, you"ll find that it now very closely follows the system used on the Leica SL2 and Q2 cameras. One press of the Menu button opens the customisable control panel which shows the current key camera settings with two rows of six icons displayed underneath, including the last which then dives into the menu system proper.

Compared to the multitude of options that other manufacturer"s cameras offer, the Leica M11"s main menu is refreshingly pared back, with a mere 26 options in total. Annoyingly, although you can directly interact with the control panel via the LCD screen, you can"t also use the touch-screen interface to navigate through the menu or select options, instead relying on the navigation wheel/arrows.

The size of the back plate LCD screen is 3-inches and the resolution is a respectable 2.3 million pixels, bringing the M11 up to date with the latest digital cameras.

With the 3-inch LCD screen taking up about two thirds of the back plate, this leaves room for a column of 3 square buttons ranged down the left hand side of the screen, whilst over at the right hand side sits a familiar cross key/command pad style arrangement.

The buttons at the left of the LCD are both clearly marked and instantly comprehended. From the top we have a Play button for reviewing previously captured images, a configurable FN button which by default accesses the Live View mode, and a Menu button for opening the customisable Favorites menu and and the Main Menu system.

Above the LCD screen is the viewfinder, which is the same as the one on the M10, offering a magnification factor of 0.73x. The widest focal length that it covers is 28mm, so you"ll have to use the LCD screen or buy the optional EVF for wider-angle lenses.

The Leica M11 features a thumb-operated customisable command dial over at the top right which with a single push by default allows you to set the exposure compensation, with adjustable settings ranging from a standard -3EV to + 3EV. This dial also zooms into the magnified live view and magnifies images in playback mode.

Three different focusing aids are provided on the Leica M11 - auto magnification (x3 or x6), focus peaking and auto magnification plus focus peaking. With the bigger screen scale and higher resolution we found it easier to accurately determine pin sharpness than on previous Leica digital cameras.

The set of un-marked cross keys on the right of the LCD screen moves the magnification loupe freely around the frame for even better assessment of sharpness, either on the LCD or the Visoflex electronic viewfinder.

In the centre of the cross-keys we find an un-marked button which acts like a standard "display" button. A press of this in capture mode removes the icons for the shooting mode in play, number of shots remaining, battery life, focus and metering mode from the screen to provide a clearer view of the subject.

The base of the Leica M11 has a screw thread that"s perfectly inline with the centre of the lens mount, with the catch protected battery compartment housing both the supplied BP-SCL7 1800mAh lithium-ion battery, good for around 700 shots in accordance with the CIPA Standard when using the live view mode and a whopping 1700 shots by Leica"s estimation when only using the optical rangefinder, and the SD card slot alongside it.

Eagle-eyed readers and avid Leica fans will note that the M11 has rather controversially omitted the traditional removable base plate in favour of a dedicated compartment which provides more direct access to the battery and UHS-II SD card, something that purists may not like but which does undoubtedly help to speed up the camera"s operation.

In addition to the SD card slot, the Leica M11 offers a generous internal storage capacity of 64 gigabytes, with the option to use it either sequentially, as a backup, or even for recording Raw files to one and JPEGs to the other.

Alongside is a brand new USB-C slot that allows the camera to be charged using most USB-C chargers and out in the field using an external powerbank. The M11"s battery can also be charger externally via the dedicated USB-C Leica charger that"s provided in the box.

The other main benefit offered by the USB-C port is the ability to to establish a wired connection between the Apple “Made for iPhone and iPad” certified M11 and an iPhone or iPad using the provided Leica FOTOS cable.

This automatically opens the Leica FOTOS app which provides all the same functionality that"s available through a wi-fi connection, just with the added reliability and increased speed of the physical cable.

The main caveats are that the Leica USB-C to Lightning cable obviously only works with Apple iOS devices and not Android, and Leica"s unique cable can only be used with the M11 and not for charging or syncing other Lightning devices.

The Leica M11 features built-in Bluetooth 4.2 BR/EDR/LE and dual-band 2.4/5Ghz 802.11 a/b/g/n/ac Wave2 Wi-Fi 5 connectivity for wirelessly connecting to other devices such as a smartphone, tablet or computer.

You can easily transfer your images and also control the camera remotely via the free Leica Fotos app, which, amongst other functions, allows remote setting of the shutter speed and aperture. The app also allows you to send your images to social networks or email them, with more features on the way later in 2022 via a firmware update.

All of the sample images in this review were taken using the 60 megapixel Large setting, which produces an average image size of around 20Mb for JPEGs and 85Mb for RAW files.

This camera produces noise-free JPEG images at ISO 64 up to ISO 1600, with some noise appearing at ISO 3200. The faster settings of ISO 6400 through to 12500 are still usable, although we"d suggest avoiding both ISO 25000 and 50000 if at all possible. The corresponding Raw files have much less obvious colour artifacts but are noticeably less sharp than their JPEG equivalents.

The night photograph was very good, with the maximum shutter speed of 60 minutes allowing you to capture enough light in every situation, and the Film Styles, although limited in number and customisability, do allow you to quickly change the look of JPEG files.

ISO sensitivity can be set between ISO 64 and ISO 50000 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.

Leica"s Film Styles are preset combinations of different sharpness, contrast and saturation settings, for JPEGs only. The Leica M11"s five available Film Styles are shown below in the following series, which demonstrates the differences between them. You can also tweak the preset styles so that you can create your own particular look, although you can"t create brand new ones.

The Leica M11 enables users to capture RAW and JPEG format files. We"ve provided some Leica RAW (DNG) samples for you to download (thumbnail images shown below are not 100% representative)."

Having said that, this is still an incredibly niche product that isn"t going to win over too many new converts. A manual-focus only, non-video shooting, 4.5fps rangefinder camera with no image stabilisation sounds like marketing madness at a time when other manufacturers are rushing to create all-in-one mirrorless hybrids that can shoot high-resolution stills at 30fps utilising cutting-edge AF algorithms and record 8K video too, but the M11 has more than enough chops and charm of its own to not only survive, but positively prosper in a fast-changing market.

The new 60 megapixel sensor at the heart of the Leica M11 pulls off the enviable trick of out-performing the 40 megapixel M10-R without introducing unwanted noise, even when shooting at full resolution, whilst offering even more dynamic range than its most recent predecessor. And for those who don"t want the inevitable storage and processing overheads of the headline-grabbing 60MP mode, Leica have thoughtfully included 36 and 18 megapixel modes, either with or without a digital crop applied.

Physical changes to the M11 are so few and far between that you"d be hard-pushed to tell the difference between it and any of the M10 models - if it ain"t broke, leave it well alone seems to be Leica"s sensible mantra.

One change that may displease some die-hard users but which we think is actually a big improvement is the removable baseplate, or rather the lack of one. Present on every M-system camera since time began, Leica have taken the very brave decision to replace it with a removable battery instead, instantly making it much easier and quicker to change the battery and memory card that"s located within the same compartment, as well as making tripod mounting more convenient.

The new battery offers longer battery life than previous models - up to 1700 shots if you don"t use live view - and the addition of USB-C charging makes sure that you should never run out of juice even on an all-day expedition. Likewise, the 64Gb of built-in memory is a nice-to-have feature for those awkward times when you forget to fit a memory card.

Value for money is always difficult to score when reviewing a Leica - most people will look at the £7,500 / $8,995 price-tag and think its madness that the M11 costs substantially more than a Canon EOS R5, Nikon Z9 or Sony Alpha A1, the current cream of the mirrorless crop - but Leica M owners will probably be pleased that the M11 only costs slightly more than 2020"s M10-R, despite all of the recent hikes in semi-conductor and shipping costs.

Ultimately the Leica M11 is an incredibly refined, pared-back tool that"s strictly for stills photographers who favour a slightly slower approach to their craft. We can"t really see it expanding the M-series userbase, despite being the best ever Leica M digital camera, but for die-hard fans it"s well worth upgrading from any of the different flavours of the M10-series.

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Leica had a real challenge this time around. In just a little over a decade, the legendary German camera maker had progressed from its first rudimentary attempt at a digital rangefinder camera in the M8 to what I dubbed the quintessential digital M with the M10. And since its introduction in 2017, the M10 has gotten some significant updates – the M10-P with an ultra-quiet shutter, touchscreen and level gauge, then later the M10-R, which upped the sensor resolution from 24 megapixels all the way to 40. How could a digital M be improved much further?

The Leica M11 delivers the unique shooting experience that"s typical of these manual-focus rangefinders, while embracing new technology like a new 60MP full-frame BSI sensor and 64GB of internal storage. With great image quality, a beautifully minimal design and exceptional build quality, the M11 oozes quality. But its 60MP resolution is very unforgiving when it comes to focusing errors. And the combination of this and the M11"s premium price tag make it a super-niche camera for enthusiasts only.

Automatic bracketing 3 or 5 shots, graduations between shoots up to 3 EV, in 1⁄3 EV increments, additional optional exposure compensation: up to  3 EV

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Your most memorable photos are those that connect, on an emotional level, with your audience. And the best way to elicit an emotional response is to create images with mood.

As a case in point the photo directly above shows a difficult road ahead, along a steep and narrow path, through the mist on a cold winter’s day on Yellow Mountain.