Physically, the camera is a little larger than its predecessor the mode dial is a little stiffer, it’s gained another thumb jog-tab on the back to activate the ND filter or change focus distance some of the menus are a little different, and the big change is of course the addition of a physical aperture ring. I found my compositions were much stronger if I just picked one aspect ratio and stuck with it – for most of the trip, this happened to be square since I was also shooting with the Hasselblad. It doesn’t help that if you normally crop down, then either the horizontal or vertical angle of view stays the same – this is obviously not the case with the DL6/LX7. In reality, I found it a little disorienting to use, because it distracted me from forcing myself to compose for the aspect ratio. So in theory, the Swiss Army Knife switch should be perfect for me. I’m used to this normally – my Nikons are 3:2 my Hasselblads are square my OM-D is 4:3. Shooting with easily-switchable multiple aspect ratios is an interesting experience. I used one of these extensively and loved the optical quality of the lens and its close focus ability throughout the entire zoom range fortunately neither has changed. It is supposedly an updated version of the sensor in the predecessor (LX5, D-Lux 5). This means that the horizontal field of view actually gets wider as your change aspect ratios (on a handy slider on top of the lens barrel) rather than merely cropping – the 16:9 option has the horizontal angle of view roughly equivalent to a 21-22mm in 35mm terms. It’s coupled to a 1/1.7″, 12MP sensor that never outputs more than 10MP this is because the diagonal angle of view of the lens is always constant, so the image circle is slightly larger than the sensor. The headline spec for both cameras is the lens: a 24-90mm f1.4-2.3 (!) diagonal 35mm equivalent – I’ll explain this in a minute – Leica-designed ‘Vario Summilux’. Yahoo! Dome and cloud, home of the Fukuoka Seahawks. I reviewed this version because it’s what I happened to have access to. Buy the Leica if you need processing software or intend to keep the camera a bit longer the warranty helps and it holds resale value a bit better, too. The Leica version is more expensive, but includes Lightroom and an extended warranty in the end, it washes out price-wise. Both have identical sensors, lenses, EVF capability, and as far as I can tell, file output. The Panasonic has a few more curves, flourishes, chrome bits and a small but welcome front grip. Physically, they are identical but for the cosmetics – the Leica has a nicer, cleaner (but also slipperier) design and square buttons. Thanks to an enormous work backload, I’ve only just had a chance to finish looking through the files in detail.įirst off: I’ve had a lot of people asking if the Leica version is any different to the Panasonic version. As part of the quest, I borrowed a D-Lux 6 from Leica Malaysia to put it through its paces on my recent trip to Japan. Regular readers will know I’m a firm believer in carrying a camera at all times the question is, what should that camera-for-when-you-don’t-want-to-carry-a-camera be? Let’s just say the hunt goes on. Whilst I loved the RX100 for its fantastic sensor, the lens arguably lets the package down: it may be fast one the wide end, but for it to keep up with the sensor in the corners, you have to stop down a bit (thereby negating this advantage) and the tele end is just plain slow. For whatever reason, I’ve never really bonded with the Canon S-series, so that’s never made it into my pocket same with any of the Nikon Coolpixes, though I’m really hoping the A will change that. Current top of the heap is the Sony RX100 I’ve also used the GR-Digital series, Fuji XF1 and Panasonic LX/ Leica D-Lux series. There aren’t that many choices for fully-featured, pocketable compacts at the moment in my ongoing quest to find the ideal take-everywhere companion, I’ve probably tried most of them.
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