Toyota-backed SkyDrive's SD-05 multicopter has achieved stable flight at 100 km/h (62 mph), proving its wingless design handles real aerodynamic loads. The milestone feeds Japan's JCAB certification process and keeps 2028 commercial launch in sight, if regulators can keep pace.
A company known for its AI image generation has made a surprise pivot – to consumer healthcare. Midjourney has announced it will offer a "new form of medical imaging" using echolocation to map the body, in a day-spa setting, with the first center to open to the public in 2027.
Category: AI in Health, Medical Innovations, Body and Mind
Tags: Artificial Intelligence, Diagnostic devices, MRI, scanning, Health, Chronic illness, Disease, Age-Related, anti-aging
The first hotel run by robots will open its doors to the public next year. It comes as no surprise that it's happening in China – on the artificial island built for the Shenzhen-Zhongshan Link, the cross-sea megaproject in the Pearl River Delta.
Category: AI and Humanoids, Technology
Tags: China, Artificial Intelligence, Humanoid, Hotel, Tourism, Future, Automation, Autonomous
The GT40 is perhaps Ford’s most recognizable car. It’s the car that put Ford on the racing map, famously anchoring the historic 1-2-3 finish at the 1966 Le Mans to defeat Ferrari of all carmakers. It’s a car that has spun off a whole line of imitators over the years.
Category: Automotive, Transport
Chinese researchers have taken a big step toward a world in which we can cultivate organs for transplant, with the first-ever embryo-disc model that can support and grow the seed cells required for in vitro cultivation. It's also a huge leap for regenerative medicine.
Tags: Chinese Academy of Sciences, Artificial organs, Organ donation, Embrio, molecular biology, Induced Pluripotent Stem Cells (iPS)
If you've ever wondered why you remember surprises so vividly, new research has uncovered a fundamental pathway that encodes novel information in the brain differently.
Category: Learning & Memory, Brain Health, Body and Mind
Tags: University of Sydney, Brain-computer interface, Memory, Neuroscience, Brain activity, Signal Processing
Colorado's Rossmönster really established itself as one of the great masterminds of RV innovation in 2021, when it launched one of the most impressive pop-up expedition trucks the world has seen, before or since. It then turned its attention to upping the ante on other adventure vehicle categories, releasing impressive designs like the glass-walled Lagom pickup topper. Now it's unleashing its impressive design acumen on the B+ motorhome category, redefining just how comfortable and stylish a small Sprinter AWD adventure rig can be. Its all-new Loft instantly makes existing B+ models like the Winnebago Ekko feel stuffy and outdated.
Category: RVs and Motorhomes, Adventure Vehicles, Outdoors
Tags: rossmonster, Motorhomes, Motorhome, Campervan, RV, Off-road, Off-grid, Camping, Mercedes-Benz, Outdoors and Camping, Overland Expo
Neil Lu, Australian National University/The Conversation
Tags: gravitational waves, Black hole, Relativity Space, Time, LIGO
Until just a few hours ago, I'd never heard of Amble, and certainly not the Amble One electric ... car?
Category: Automotive, Transport
Tags: Electric Vehicles, Golf, Resort, Travel, E Mobile
An after-meal gummy packed with heat-inactivated bacteria appears to significantly reduce the prevalence of gum disease, with new research demonstrating that this simple measure could alleviate inflammation without upsetting the mouth's microbiome or requiring any other oral hygiene changes.
Category: Diet & Nutrition, Wellness and Healthy Living, Body and Mind
Tags: Tokyo, Oral bacteria, Oral hygiene, Mouth-care, Microbiome, Microbes, bleeding, Inflammation, Anti-inflammatory
From cash crunches to vaporizing partnerships with major manufacturers despite a multi-billion dollar valuation and shipping just a handful of vehicles over the last 12 years, Faraday Future (FF) has had an awfully rough go of building an electric car brand.
Category: AI and Humanoids, Technology
Tags: Humanoid, Faraday Future, Electric Vehicles, Robots
Rotterdam-based architecture and urban design firm MVRDV has completed work along the Quai de Queyries in Bordeaux's Bastide Niel district, with three striking buildings that hide a green oasis within.
Category: Architecture, Engineering
Adobe is acquiring Topaz Labs, the company behind widely used image and video enhancement tools, including Topaz Photo, Topaz Video and Topaz Gigapixel.
The announcement follows a previous partnership between the two companies, unveiled at Adobe Max in October 2025. At the time, Adobe integrated some of Topaz's popular upscale, denoise and sharpen models directly into Photoshop, providing access to the tools using Adobe's AI credits rather than a separate paid subscription for each app. Topaz Gigapixel was also added to the cloud-based version of Lightroom in February 2026.
With the acquisition, Adobe says it plans to expand Topaz's AI enhancement models – which include upscaling, noise removal, sharpening, stabilization, frame interpolation and footage restoration – across its Firefly AI generation software, Firefly Services, and Creative Cloud products. Adobe also highlighted the integration of Topaz's proprietary Neurostream technology, which enables large AI models to run locally on consumer hardware rather than requiring cloud processing.
What this means for existing Topaz customers isn't totally clear. Adobe says Topaz products will continue to be available as standalone offerings through Topaz's own website after the deal closes, and that Topaz Labs CEO Eric Yang will remain with the company. It adds that customers "can expect continued support and investment in future innovation." However, the announcement makes no mention of pricing, subscription structure or how Topaz's tools will be positioned relative to Creative Cloud subscriptions going forward.
The transaction is expected to close in the second half of 2026, pending regulatory approval (which isn't always a given).
Adobe to Acquire Topaz LabsSAN JOSE, Calif. —June 25, 2026 — Adobe (Nasdaq:ADBE) — the global technology leader that unleashes creativity, productivity and customer experiences through innovative tools and platforms — today announced that it has entered into a definitive agreement to acquire Topaz Labs, an AI company specializing in industry-leading video and image enhancement models.
Adobe empowers everyone from first-time creators to creative professionals and enterprises with groundbreaking AI tools and technology across every stage of the creative process. Adobe's creative AI portfolio brings together industry-leading AI models in Adobe Firefly the all-in-one creative AI studio, and Adobe Creative Cloud applications including Photoshop, Lightroom, Premiere and more, delivering creative professionals pixel-level control and precision tooling.
As AI rapidly reshapes video and image creation, creatives are increasingly working across hybrid workflows that combine traditionally captured footage with AI-generated content, and they are expected to deliver high-quality results across a growing range of formats, devices and production methods. Topaz Labs provides a broad array of advanced AI models for video and image enhancement that analyze and improve existing visual content by sharpening detail, removing noise, restoring footage and increasing resolution, making them essential for any workflow that combines real-world capture with AI-generated imagery.
Topaz Labs develops professional quality AI video and image enhancement models and tools that are trusted by creative professionals such as Asteria Film Co, award-winning filmmaker Robert Stone and enterprises to deliver exceptional fidelity and high-quality results across professional filmmaking, documentary restoration, social content creation, photography and archival workflows. The company has developed proprietary AI models to support professional video use cases such as upscaling, sharpening, stabilization, frame interpolation, noise removal, footage restoration and more.
"Adobe Firefly, Firefly Services and Creative Cloud offer the industry's best creative tooling and top AI models for creators and brands, and we're excited to build on the strong demand for these products with Topaz Labs," said David Wadhwani, President, Creativity & Productivity Business, Adobe. "Creators are creating more content by mixing captured and generated images and video, and with Topaz Labs we will give every creator the quality and control to easily produce that content at higher quality and resolution."
"Building technology to make images and videos look their absolute best has been our life's work for more than twenty years," said Eric Yang, CEO of Topaz Labs. "We've always believed that technology should serve human creativity rather than replace it — and so has Adobe. Together, we believe we can dramatically expand what's possible for filmmakers and creators everywhere."
With Topaz Labs, Adobe will expand its video and image model offerings with state-of-the-art AI enhancement models in Adobe Firefly, Firefly Services and Creative Cloud apps, giving creators, designers, video professionals, photographers and enterprises the tools to achieve exceptional quality across every format and workflow. With millions of customers, Topaz Labs and its Emmy Award-winning AI technology will be integrated across Adobe's creative AI portfolio, giving creatives the ability to enhance footage, restore and remaster archival content, and blend AI-generated and traditionally captured content into seamless final productions. Topaz Labs will also bring its proprietary Neurostream technology that enables large, complex AI models to run locally on consumer devices, democratizing advanced image and video models previously limited to high-end systems or cloud-only usage and positioning Adobe to tap into the growing opportunity for efficient, on-device AI video.
After the transaction closes, Topaz Labs customers of all sizes can expect continued support and investment in future innovation and Topaz Labs products will remain available as standalone offerings through the company's website. Upon close, Topaz Labs CEO Eric Yang will continue to lead the Topaz Labs team.
Transaction Details
The transaction is expected to close in the second half of 2026, subject to the receipt of required regulatory approvals and the satisfaction of other customary closing conditions.
Dementia isn’t just a risk humans face as they age. Our canine pals can also experience severe cognitive decline, the early signs of which could be clear in the way they go for walkies.
Tags: Dementia, Pets, Dogs, Walk, North Carolina State University, University of Montreal, University of Pennsylvania, Alzheimer's disease, Cognitive functioning, Age-Related, Aging, Brain activity
"The horse is symbolic of that ridden by Hussein, the great-grandson of the Prophet Muhammad, who was slaughtered over 1400 years ago and still revered in the modern era. This is an important day in the Muslim calendar – the ‘Muharram Jaloos’ procession."
Fuji X-H1 | Fuji 16mm F1.4 | F5.0 | 1/125 sec | ISO 200
Photo: Mark Lamb
Mark Lamb, known as Dark Inventions on the forums, serendipitously submitted a portrait photography spotlight to us right before we announced our community self-portrait mini challenge. This is a great capper for a week of luminous portrait photography among multiple community initiatives. Be sure to stop by the community forums to check them all out. In the meantime, see Mark's story and the people he photographed below.
This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.
Have your photography featured on the DPReview homepage! Find out how.
"Another image from the Whitby goth gathering – one of the regular attendees."Home base: United Kingdom
"Photography has been part of my life for over forty years. What began as an interest in recording people and places gradually became an exploration of memory, identity and the passage of time. I have always been drawn to portraits because they allow me to connect with people from every walk of life."
"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."
What's in Mark's bag Mark's camera bagPhoto: Mark Lamb
Favorite camera: Sony a7R V
"The camera has become less important than the conversation that happens before the photograph. The image is often the final stage of a much longer process of listening and understanding."
"The girl’s precious rabbit was initially hidden, but a cooperative mom negotiated an appearance
from him. Whitby Goth Gathering."
Sony a7R V | Sigma 65mm F2 | F2 | 1/3200 sec | ISO 200
Photo: Mark Lamb
"I am primarily a portrait photographer. I am interested in people who carry visible traces of their lives in their faces, clothing, surroundings and personal histories."
"Many of my photographs are taken in northern England, particularly around Scarborough and Whitby. Whitby has been especially important because it brings together people from remarkably diverse backgrounds. The annual Goth events provide opportunities to photograph individuals who have consciously created identities that challenge conventional ideas of age, beauty and self-expression."
"My aim is always the same: to create portraits that are honest, empathetic and respectful.""Alongside this, I photograph travelers (gypsies), circus, religious groups, family members, veterans, theatrical performers, dancers, and any of the charismatic people I encounter in my everyday life. My aim is always the same: to create portraits that are honest, empathetic and respectful."
"Beamish, near the city of Durham in the north of England."
Sony a7R V | Sony 24mm F1.4 | F2.8 | 1/250 sec | ISO 2500
Photo: Mark Lamb
"I'm not getting any younger (my vintage is 1956), so I'm in a constant battle with myself to lose weight from my bag by shedding all but essential gear. I'm definitely more patient than I used to be and make a lot of effort to engage fully with my subjects."
"I tend to use a simpler visual language these days, and I think it helps give my work a recognizable stamp. I've been fairly successful in the last year or so since I made an effort to put my work out there (rather than sitting on a hard drive) and, as a result, found success in the Taylor Wessing Portrait Prize, when a portrait of my wife was selected in the English National Portrait Gallery in London. I've also had exhibition success and appeared in a few magazine articles."
Leica Q2 Monochrom | Summilux F1.7 28mm ASPH | ISO 200
Photo: Mark Lamb
"I'm a frequent attendee at the Whitby Goth Weekend, which happens twice a year, in the historic streets of this old fishing village. I also attend community events, special-interest meetings such as comic cons, and turn up regularly at cultural events such as gypsy horse fairs, religious processions and so on. In short, I will go anywhere that I can expect to find interesting people."
"As a younger man, I traveled the world extensively (circa 170 countries), but these days I don't feel the need to leave the UK in my search for subjects. I'm pretty certain that if I lived closer to London, I wouldn't need to travel outside the M25 (the motorway that encircles the city). Instead of traveling, I prefer to spend my effort in returning repeatedly to the same communities, which allows me to build relationships over time."
"Joan was ninety-three when this portrait was shot. She had just been running (!!) to catch a bus and had narrowly missed it. Luckily for me, she then had plenty of time for a portrait session."Sony a7R IVa | Sony 50mm F1.2 | F1.2 | 1/640 sec | ISO 100
Photo: Mark Lamb
"The perfect portrait usually happens after the planned photograph. Once the subject believes the session is over, the performance often drops away and something more truthful emerges. I pay close attention to conversation, body language and silence. Technical decisions are important, but the most important part of portrait photography is creating an environment in which people feel comfortable enough to reveal themselves."
"The perfect portrait usually happens after the planned photograph.""The only advice I could possibly offer to someone I don't know is to shoot what you know and not what you'd like to be seen shooting. That's how I view my ongoing One Thousand Contemporary Portraits project. I'm also continuing work on memory, aging, and identity, and I have a burning desire to create a lasting portrait record of contemporary Britain."
Mark really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums.
You can check out his other work at darkinventions.com.
Thanks, Mark, for being featured!
Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.
Submit your photos and story to be featured in 'What's in your bag?'
You know how rejuvenating a bath feels after a long day of work? Almost like you're renewed. Turns out that's not exclusive to humans. Scientists at Cornell University have developed an electrochemical bath that restores spent lithium batteries to nearly 100% capacity.
Category: Energy, Engineering
Tags: Batteries, Cornell University, Recycling
Product photos: Mitchell Clark
The Leica SL3-P is a high-speed, high-resolution full-frame camera built around a 44MP BSI CMOS sensor. It's the latest in the company's SL range and perhaps the most polished and all-round capable camera in the series so far.
Key specificationsThe Leica SL3-P will be available at a recommended price of $6695 excluding tax in the USA, or Euro including sales tax.
Index:Thus far, Leica has produced high-resolution SL models and high-speed SL-S versions. The SL-P appears to be something of an attempt to merge the two lines, offering both high speed and high resolution.
The result is something akin to Sony's recent a7R VI or, perhaps more pertinently, the Panasonic S1RII: not an out-and-out sports camera but more a studio and landscape camera that's happy to venture further afield. That Panasonic comparison is unavoidable as the 44MP, 40fps headline spec is shared between both cameras, as are their processors, even if the branding of them differs.
However, our experience of the SL3-P and the S1RII reminded us of how different you can make two cameras, even if you start with many of the same components and have similar destinations in mind.
Leica talks a good game about building cameras that last, and that's immediately apparent in the feel and heft of the SL3-P. But what's really striking is how few control points the Leica seems to have. That minimalism, honing the camera down to its core functions and little more extends to the menus and interface, meaning it gives a very different experience to the Panasonic. Or, indeed, any other mainstream camera.
How it comparesAlthough it offers both high speed and high resolution, the SL3-P doesn't match the do-everything levels of capability of the Nikon Z8 and Canon EOS R5 II, with their stacked CMOS sensors. Instead it's closer in ethos to the Sony a7R VI or, perhaps unsurprisingly, the Panasonic S1RII, essentially delivering a studio and landscape camera that isn't scared of a little action, rather than a camera you might pick for sports work.
We've also compared it here to the SL3, which offers higher resolution but less speed, if absolute image quality is more important to you than the added speed.
Leica SL3-P Panasonic S1RII Sony a7R VI Leica SL3 MSRP at launch $6690 $3300 $4500 $6995 Resolution 44.2MP 44.2MP 66.5MP 60.3MP Sensor type BSI CMOS BSI CMOS Stacked CMOS BSI CMOS Max frame rate 7fps mech., 14-bit8K/24 open gate
UHD/DCI 4K/120 (up to 1.17x crop)
4K/60 (up to 1.1x crop)
4K/30 full-width
Wi-Fi 5
1x 10Gbps USB-C
HDMI
Mic / Headphone jacks
2.5mm remote
Wi-Fi 5
1x 5Gbps USB-C
HDMI
Mic / Headphone jacks
Flash sync
1x CFexpress Type B
1x UHS-II SD
External SSD
It probably shouldn't come as a surprise to find that the SL3-P's specs are a very close match for those of the S1RII. The differences between the two cameras aren't something readily captured in a specs table.
The original SL3 offers a slight boost in resolution capture but at the cost of a lot of the new camera's flexibility. Sony's a7R VI offers both though: higher resolution and competitively fast shooting with excellent autofocus and slightly wider dynamic range. It's hard to imagine how two user interfaces and user experiences could be more different, for two cameras ultimately trying to do the same thing, though.
Body and handing The SL3-P's design is as simple and solid as the huge sans serif branding across its viewfinder hump. And with a vague sense that this is how it's always been.The SL3-P uses the same body as the existing SL3 models: a solid, angular block of a thing with a few large control points and a substantial grip to wrap your hand around. The Leica branding across the viewfinder hump is so beautifully proportioned that it's easy to assume that this series (and, perhaps, a series of film cameras before it), have always looked this way. So it was a shock to see the original SL in the company's archives and see how far the design has evolved.
There are two buttons on the front of the camera, two on the top and one on the back, none of which have marked functions. Instead they can be re-programmed with a long press. In addition there are three marked buttons on the back of the camera: Play, Fn and Menu.
Then there are the three large command dials: one towards the front of the top plate, one protruding from the rear of the right shoulder and a third on the top left of the camera (which I kept forgetting about, as it's such an unorthodox place to find one).
Beyond this there's a small rubber joystick on the back of the camera, and that's about it. Relatively few control points and still fewer dedicated ones. No switches for focus mode or AF area, not even the seemingly obligatory stills/movie switch: that's controlled by swiping left or right on the rear screen.
Rather than making you dig through an incredibly long list of formats, the SL3-P makes it easy to filter down to the video modes that fit your shooting scenario.We'll touch more on the user interface in the 'In use' section of the review, but Leica is continuing to refine the rather elegant and focused interface it introduced in the SL3. For instance, in this latest camera, the company has re-worked the way you select a video mode: letting you select the parameters that are most important to you: frame rate, resolution, codec, etc, then filtering down the available list from a seemingly unmanageable 193 down to the handful that fit your requirements. It sounds obvious once you've seen it done, but it's cleaner and simpler than most cameras we use.
Viewfinder and screenThe SL3-P has the same viewfinder as the other SL3 models: a 5.76M dot OLED panel (1600 x 1200px) with 0.76x magnification and a 21mm eyepoint. A large circular rubber cushion makes the camera comfortable to use if you wear glasses and there's a -4 to +2 diopter adjuster set behind that cushion.
The rear screen is a 2.33M dot (1080 x 720px) panel mounted on a tilt up/down mechanism.
PortsThe SL3-P has the same port arrangement as its sister models, with 3.5mm headphone and mic sockets and a full-sized HDMI socket under a large, rubber flap on the left flank of the camera. Below these is a USB-C socket that can be used for data transfer (10Gbps), tethering (including to an iPhone) or charging.
Battery As has become standard for Leica, the base of the battery includes the outer surface of the camera. There's a sprung silver lever on the base to release the battery and a stepped latch to prevent it just dropping onto the floor when you do.The camera uses the same BP-SCL6 battery as its siblings: a 15.8Wh unit that powers the camera to a rating of 383 shots per charge, when tested to the CIPA protocol. As always, this tends to significantly under-represent the actual number of shots you can expect to get, but a rating of nearly 400 shots per charge is the sort of number that should means an enthusiast photographer rarely has to worry about topping-up on a day's shooting. It's only intensive shooting such a weddings, or anything involving a mixture of video and stills that are likely to call for you to have a spare to hand.
AutofocusThe Leica's autofocus behavior is as innovative and unconventional as the rest of the UI.
The camera has three AF area modes, but offers more than three AF areas. The first is called "Spot / Field," the second is called "Multi-Field / Zone" and the last is called Tracking.
There are three AF area options available, but two of them represent a series of different AF area modes.The clue is in the forward slashes. Spot / Field lets you select a single AF point of various sizes, while Multi-Field / Zone lets you choose between an adjustable AF zone and all-area AF, where the camera selects a subject from anywhere within the frame. Once you've chosen an AF zone mode, you can adjust it by pressing the AF area on your rear screen or long-pressing anywhere on the live preview. This then lets you use the rear dial to adjust the focus area size.
You can't adjust the size of the tracking AF target but you can, in the menus, reconfigure it so it doesn't keep jumping back to the center of the screen.Like Panasonic's recent cameras, the camera will track recognized subjects when you have subject recognition turned on, but won't track non-recognized subjects at all. So you'll need to turn subject recognition on and off depending on what you're trying to photograph. We'd definitely recommend configuring a button to do this.
By default, the camera's Tracking AF mode gives you a small rectangle that resets to the center of the frame at the end of each burst. However, while you can't change the size of the initial target, you can configure the tracking target to revert to wherever you last triggered it. So, for instance, if you want to track a car down through a series of curves, across your frame, then have the camera jump back to where the next car is likely to arrive, you can.
In useOne of the Leica's most compelling aspects isn't something you can see from product photos or interpret from the spec sheets: the user interface.
The SL3-P uses the latest iteration of the back-to-basics interface Leica has been refining over the past few years.
Pressing the menu button brings up this status panel, which can be customized with a long press of any of the virtual buttons. You can even customize the list of available options, to make selection faster. Pressing the menu button again takes you into the main menu, which is impressively concise for a modern camera.At its heart, it's designed around putting the key photographic parameters at your fingertips and minimizing the extent of, and need for, menu options. For instance, holding down a customizable button or long-pressing any of the on-screen icons brings up a list of other functions you can assign to it. In fact one of the few options present in the main menu is one to filter-down which options are presented to you, when you long-press a control point to customize its function.
The result is an interface very focused on the fundamental settings of photography. It affords you the luxury of just ignoring what's going on in the interface, much of the time, and just letting you concentrate on the settings assigned to the two big dials, and what you're seeing in your viewfinder.
The Play, Fn and Menu buttons on the back of the camera are the only ones with marked functions: the rest are designed to be configured (and reconfigured) to suit your shooting style and preferences.This minimalist approach extends to the body and its control points, too, with a smattering of custom buttons, a joystick and three large, solid-feeling command dials being your points of contact. It's remarkable how few dedicated control points there are and while, for my shooting, I found myself sometimes wishing for an AF mode selector, with a little work it's very likely that you can set the camera up in a way you find very quick and easy to work with.
Because it's such a different way of working, the interface takes a little bit of getting used to, though. It rewards you for taking the time to adjust to its design philosophy. One aspect of which is learning to save your setup as a user profile, or risk discovering that selecting the default profile erases any customization you've started applying.
It's also worth recognizing what is and isn't included in these profiles. Exposure mode is, but specific exposure settings aren't, so my attempt to build a profile for freezing the action and another one, with a slower shutter speed, for panning ended up being unsuccessful. Likewise, it's worth carefully planning your profiles before saving them: I thought it would be handy to define a custom button to switch between profiles. Which was great until I pressed the button and switched to a profile with different custom buttons settings, so couldn't get back.
Overall it works very well, though, giving a very photo-focused shooting experience where, for all the cleverness that modern cameras have brought, you end up remembering that the only things that really matter are shutter speed, aperture value, composition and where you're going to focus.
VideoDespite us saying that the SL3-P has a very photo-focused interface, it's probably better to say that it's a very exposure-focused. Swipe left on the camera's settings panel and you get a similar but now video-centric display, with yellow, rather than red accents.
The SL3 offers an incredible range of video modes: 157 in total. These range from 8K open-gate capture, that uses the full extent of the sensor, via 8K in either 1.89:1 or 16:9 aspect ratios and on to 4K capture, again with a choice of aspect ratios. But the camera also offers a selection of other resolutions for each of these capture regions, letting you strike a balance between resolution capture and speed.
Like Panasonic's S1RII, the SL3-P doesn't quite have enough pixels to capture DCI 8K (8192 x 4320px) footage so instead outputs 8132 x 4288px footage. UHD 8K is no problem, though, so you can also select the more conventional 7680 x 4320 resolution, if you prefer.
As you'd expect of a modern camera, you get the choice of 10-bit Log or HLG, or 8-bit if you don't plan to color grade, and you're targeting SDR displays.
Video options: Output dimensions Frame rates Crop MOV ProRes DR Exp 1.89:1 modes C8K 8128 x 4288 30, 25, 24 1.0 4:2:0 – Yes C6K 5760 x 4030 30, 25, 24 1.0 HQ 60, 50, 48 1.04 – – C4K 4096 x 2160 30, 25, 24 1.0 4:2:2 HQ Yes 60, 50 1.04 – 30, 25, 24 1.52 Yes 60, 50, – 120, 100 1.09 4:2:2 – – 16:9 Modes 8K 7680 x 4320 30, 25, 24 1.0 4:2:0 – Yes 6K 5888 x 3312 30, 25, 24 1.0 – Yes 60, 50, 48 1.11 – – 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 – Yes 60, 50 1.11 – – 30, 25, 24 1.52 – Yes 60, 50 – – 120, 100 1.17 4:2:2 – – 3:2 Modes 8K OG 8064 x 5376 24 1.0 4:2:0 – Yes 7.2K OG 7200 x 4800 30 1.0 4:2:0 – – 25 – Yes 6.4K OG 6432 x 4288 30 1.0 4:2:0 – – 25, 24 – Yes 4:3 Modes 4.7K 4736 x 3552 30, 25, 24 1.71 4:2:0 HQ Yes 60, 50, 48 – – - MOV boxes marked green offer All-I compression optionsAs with the Panasonic S1RII, the SL3-P has a Dynamic Range Expansion mode in video, which reads each exposure in both low conversion gain mode for maximum highlight capture and in high conversion gain mode, for cleaner shadows, and combines the two, to boost DR.
This is available in any resolution mode but only at frame rates up to 30p. In each case it increases the readout rate by around 33%. So, for instance, the UHD 8K/24 mode increases from 23.9ms to 31.9ms.
Initial impressionsThe Leica SL3-P is the fastest-shooting camera Leica has ever made and should, in principle, be the only SL model they need to persist with. It offers an awful lot of what the SL3 offers, in terms of resolution, and it outperforms the more speed-focused SL3-S.
The subject recognition AF performs impressively well: finding subjects very quickly and following them well (especially when it's a subject the camera has been trained to recognize). Just as the user interface as a whole takes some getting used to, it's worth digging around in the menus and familiarizing yourself with the SL3-P's AF logic before you go out shooting. Without an instruction manual it wasn't obvious that Leica had grouped its AF area modes, or how to switch between them, nor that you can override the camera's default behaviour when it comes to AF tracking.
Some issues you can't overcome, though. The sensor is fast, but it's not as quick as the best stacked CMOS sensors. So the camera will start showing a slideshow of the images you've just shot, when you're shooting at its fastest rates, making it very difficult to keep pace with the action. Similarly, we were advised to shoot Raw-only and to disengage Content Credentials, to get the best performance.
Rolling shutter can become visible if the camera or subject moves too quickly. The camera makes clear whether it's shooting in 12 or 14-bit readout mode, which significantly affects the rolling shutter rate.
Leica Vario Elmarit 24-90mm F2.8-4.0 @ 75mm | 1/320 sec | F6.3 | ISO 100
Photo: Richard Butler
And, even with that done, the camera's approximately 20ms (1/5 sec) readout rates in 12-bit mode mean that rolling shutter will be apparent if you're trying to follow really fast action.
In this respect it's a lot like the Sony a7R VI we recently reviewed: very fast for a high-res studio/landscape camera, meaning it'll handle itself very confidently in a much broader range of circumstances than that. It's not quite the high-res, high-speed all-rounder that Canon's EOS R5 II and Nikon Z8 are, but it'll still be more than enough camera for a very broad range of photographers, taking a very broad range of photos.
The challenge, as ever with Leica, is the price. It's a beautifully built object, constructed in Portugal and Germany, that wears the Leica name and is likely to sell in relatively small numbers, when compared to the volumes of the large Japanese manufacturers. As such, the price is high.
For that money you get the fruits of some very clever design work, in a body that feels like it's designed to last decades. However, parts availability and the continued march of technology (we can already see that sensors and AF will continue to get faster), will make it difficult to match the sense of longevity that a Leica film camera gave you. So, as always, part of the calculus comes down to: how important are those five letters to you?
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Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Alongside the SL3-P, Leica has announced two new full-frame L-mount lenses: the Summilux-SL 50mm F1.4 Asph., and the APO-Macro-Elmarit-SL 100mm F2.8. The former is an update to an existing model, offering the same focal length and speed in a much smaller and lighter package, while the latter is a new addition to the company's mirrorless lineup.
The 50mm F1.4 features an optical design with 11 elements in 6 groups, with 2 aspherical lenses. It has an 11-blade aperture, and can focus as close as 0.5m (19.7").
The 100mm F2.8 Macro.The 100mm F2.8, meanwhile, can focus as close as 0.29m (11.4"), providing 1:1 reproduction. Its optical formula consists of 17 elements in 12 groups, and Leica says its apochromatic correction lets it provide "outstanding imaging performance right to the edges." It has a 9-blade aperture.
Leica SL3-P | Leica APO-Macro-Elmarit-SL 100mm F2.8 | F3.5 | 1/200 sec | ISO 250 | Processed in Capture OneThe company says the 100mm F2.8 is designed to honor one of its classic designs, the 1987 APO-Macro-Elmarit-R 100 F2.8. It's 138mm (5.4") long, and weighs 862g (30.4oz)
The 50mm F1.4 is 76mm (3") long, and weighs 584g (20.6 oz). This is compared to Leica's previous Summilux-SL 50 F1.4 Asph., which was 124mm (4.9") and 1065g (37.6oz), making the new much nicer to carry around.
Leica SL3-P | Leica Summilux-SL F1.4 Asph. | F5.6 | 1/200 sec | ISO 64 | Processed in Capture OneBoth lenses feature an aluminum build painted black, and are sealed against dust and splashes. The 50mm features an extremely minimal design; its only control is the large focus ring. The 100mm has one too, as well as a focus limiter switch. Both are threaded for 67mm filters. For the 50mm, this represents a substantial downsizing from its predecessor, which used 82mm filters.
The Summilux-SL 50mm F1.4 Asph. will retail for $4950, and the APO-Macro-Elmarit-SL 100mm F2.8 will cost $2700. Both lenses are scheduled to launch at the end of the year.
Press release:
New: The Leica SL3-PLeica is expanding its SL-System for performance-oriented photography and videography with the release of its most advanced full- frame camera to date, accompanied by two new SL-Lenses, offering greater creative freedom
Teaneck, June 25th, 2026 – When it launched the SL-System in 2015, Leica set a new standard for creative photography and video production. Based on the L-Mount, the system combines technological innovation with the precision and quality that the company is known for. Developed in close consultation with professional users, the SL-System continues to be refined, drawing on practical experience. The result is an expanding full-frame system that meets the highest photographic and cinematic standards, while also offering non-professional users easy access to high-quality image and video production thanks to its convenient, intuitive operation. Looking to the future, Leica is now significantly strengthening the SL-System by presenting the Leica SL3-P, the brand’s most comprehensive full-frame camera to date, alongside the innovative Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8 lenses.
The New Leica SL3-PAt the heart of the SL3-P’s features are a new sensor and a new hybrid autofocus system. The 44- megapixel BSI full-frame sensor provides an ideal balance of high resolution and exceptional image quality. With a dynamic range of up to 14 aperture stops, even the finest tonal gradations are captured. The Multishot mode delivers extremely high-resolution, detailed images with up to 176 megapixels. The ISO range of 50 to 200,000 ensures high image quality and flexibility, even in challenging lighting conditions. The new hybrid autofocus system combines three focus technologies – phase detection (PDAF), depth mapping (object detection AF), and contrast detection (contrast detection AF) – to achieve quick, precise, and reliable focusing. With continuous shooting at up to 40 frames per second with full autofocus support, improved tracking performance with 819 AF points, and smart subject recognition, the SL3-P can handle even the most dynamic of subjects with ease.
In terms of video, the latest addition to the SL3 family enables recording at resolutions of up to 8K. This includes 8.1K Open Gate in 3:2 format at up to 24p, HDMI RAW 8K Open Gate, and 8K at 30p. For smooth motion rendering, the camera offers 5.9K recording at up to 60 frames per second as well as detailed slow-motion footage in 4K at 120p. Integration of the Apple ProRes codec at up to 5.8K guarantees outstanding image quality. Together with the two new in-camera LUTs – Leica Pure and Leica Cine – for the L-Log color space, this provides maximum freedom in professional post- production. This not only makes the SL3-P suitable for demanding film productions but also for high- quality hybrid workflows. It allows footage to be optimized for various channels and formats, and framing to be determined retrospectively without any loss of quality.
Manufactured in Germany, the SL3-P features a deliberately minimalist design with black control elements and without the red Leica logo. Its solid, full-metal body ensures maximum stability and reliability, while IP54 certification provides effective protection against dust and water splashes. The SL3-P also features the L-Mount, offering maximum flexibility for photography and filming with the exceptionally wide range of compatible lenses from L-Mount Alliance partners.
The SL3-P offers a unique combination of outstanding image quality, precision, feel, reliability, and speed as well as an unrivalled Leica user experience. This is based on well-conceived ergonomics, fully customizable controls, and a captivatingly clear user interface. The minimalist icon and menu design, which strictly separates photo and video modes, ensures particularly efficient navigation. A special color code – red for photos and yellow for videos – visually distinguishes between the two modes. In addition, the user interface automatically adapts to the camera’s orientation, displaying all information clearly and legibly on the high-resolution tilting screen in both vertical and horizontal positions. The exceptional Leica user experience is maintained through ongoing, uncompromising development. Regular firmware updates based on customer feedback are conveniently made available for the SL3-P via the Leica FOTOS App. This means that the camera embodies both modernity and longevity – from the choice of materials and continuous software improvements. It is a future-proof investment that offers a complete Leica experience from the very first use.
The SL3-P’s comprehensive connectivity ensures a seamless professional workflow. The Leica FOTOS App uses fast Wi-Fi and Bluetooth connections to link the camera directly to mobile devices. This enables fast downloads of DNG, JPG, and video files as well as full remote control via a smartphone or tablet.
Leica Looks can be applied as soon as the shutter is released, and their intensity can be adjusted either in the camera or later in the Leica FOTOS App. Native tethering support for Lightroom Classic and Capture One provides a stable, direct connection between the camera and computer, facilitating immediate image review in the studio. With Camera-to-Cloud via Adobe Frame.io, photos and videos can be transferred directly from the camera to the cloud, making them available for post-production immediately. In addition, the SL3-P is equipped with pioneering Content Credentials technology, developed in line with the Content Authenticity Initiative (CAI), which enables images to be signed with tamper-proof metadata if desired, thereby protecting creative professionals’ intellectual property.
The New Summilux-SL 50 f/1.4 ASPH.The Leica SL-System is renowned not only for its high-performance cameras, but also for its range of lenses offering exceptional optical quality. With the Summilux-SL 50 f/1.4 ASPH., Leica once again demonstrates its innovative strength in lens manufacturing by presenting the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4. The large aperture lets you capture high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh. Its compact dimensions are the result of state-of-the-art manufacturing processes, ensuring “Made in Germany” finesse. With a diameter of 74 mm (2.9″), a length of just 75.5 mm (3″) and a weight of 584 g (1.3 lbs.), it combines maximum portability with the exceptional image quality for which Leica is renowned. Eleven aperture blades, two aspherical lens elements, and perfectly matched, high-quality glass types produce the lens’s distinctive image aesthetics. The fast autofocus enables rapid operation and focuses by means of a particularly quiet mechanism. With a close focus distance of just 50 cm (1.6 ft), an E67 filter thread, and an L-Mount, the new Summilux-SL is a highly versatile standard focal length lens. The precision-crafted, full-metal lens body forms a unit with SL-Cameras that is protected against dust and water splashes as per the IP54 standard. The AquaDura coating also ensures reliable protection even under demanding conditions.
The New APO-Macro-Elmarit-SL 100 f/2.8The Leica APO-Macro-Elmarit-R 100 f/2.8 was a milestone in optical craftsmanship when it was released in 1987. To honor this classic lens, Leica is now introducing the new APO-Macro-Elmarit-SL 100 f/2.8. Like its predecessor, this SL-System macro lens delivers outstanding imaging performance right to the edges thanks to apochromatic correction. With a close focus distance of just 30 cm (1 ft) and a maximum reproduction ratio of 1:1, this lens reveals details that are invisible to the naked eye. It is also ideal for use as a telephoto lens in portrait photography. The nine-blade aperture, in conjunction with the entire optical design, ensures a harmoniously rendered background. The robust, full-metal L-Mount body is 137.6 mm (5.4″) long and weighs 862 g (1.9 lbs.), including the supplied lens hood. The front element is protected from external influences by an AquaDura coating, while the E67 filter thread opens up additional creative possibilities.
Starting June 25th, 2026, the Leica SL3-P will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers. The retail price is $6,690.00 Leica is also offering three attractive kit deals for the SL3-P to mark its launch, providing customers savings up to $2,450.00, when compared to purchasing items separately. These are the SL3-P 28–70 Vario Kit, priced at $7,790.00, the SL3-P 24–70 Vario Kit, priced at $8,390.00 and the SL3-P 24–70 & 70–200 Vario Kit, priced at $10,995.00.
The Leica Summilux-SL 50 f/1.4 ASPH. and the Leica APO-Macro-Elmarit-SL 100 f/2.8 will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers at the end of 2026. The retail prices are $4,950.00 for the Summilux-SL 50 f/1.4 ASPH. and $2,700.00 for the Leica APO-Macro-Elmarit-SL 100 f/2.8.
Specifications: Leica Summilux-SL 50mm F1.4 ASPH 2026Leica APO-Macro-Elmarit-SL 100mm F2.8Principal specificationsLens typePrime lensMax Format size35mm FFFocal length50 mm100 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF1.4F2.8Minimum apertureF16F22Aperture ringNoNumber of diaphragm blades119OpticsElements1117Groups612Special elements / coatings2 asphericalFocusMinimum focus0.50 m (19.69″)0.29 m (11.42″)Maximum magnification0.13×1×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight584 g (1.29 lb)801 g (1.77 lb)Diameter74 mm (2.91″)77 mm (3.03″)Length76 mm (2.99″)137 mm (5.39″)MaterialsAluminumSealingYesColourBlackFilter thread67 mmHood suppliedYesTripod collarNoLK Samyang has announced the AF 60-180mm F2.8 FE, a compact and versatile lens for Sony full-frame systems. The new lens joins the company's AF 14-24mm F2.8 FE and AF 24-60mm F2.8 FE lenses, completing the trio of lightweight zoom lenses designed in collaboration with Schneider-Kreuznach.
Like the other two lenses in the set, the 60-180mm offers a constant F2.8 maximum aperture and a compact, lightweight design. It weighs just 730 g (1.6 lbs), which LK Samyang says is the lightest in its class. For comparison, while it offers a slightly different range, Sony's 70-200mm F2.8 GM OSS II weighs 1045g (2.3 lbs). LK Samyang's lens is also lighter than the Tamron 70-180mm f/2.8 Di III VC VXD G2, which comes in at 810 g (1.8 lbs).
The lens uses an external zoom design, with a difference of 25mm (roughly 1") when zooming in or out all the way.
Photo: Chris Konesky / LK Samyang
The lens consists of 17 elements in 14 groups. These include one high-refractive, seven extra-low dispersion and two aspherical elements, aimed at minimizing aberrations and helping produce sharp images. It uses an extending zoom design, with the length increasing from 149mm (5.9") at the wide end to 174mm (6.9") when zoomed in.
The 60-180mm F2.8 features a floating focus system to help maintain image quality across the focus range. At the wide end, it offers a minimum focusing distance of 0.35m (1.2') and a maximum magnification of 0.26x (a ratio of 1:3.8), making it useful for close-up images. A linear stepping motor drives its autofocus system, which LK Samyang says is quiet and precise.
In terms of lens controls, it features an AF/MF switch and a zoom lock to keep the zoom constant even when moving. It accepts 77mm filters, the same as the LK Samyang 14-24mm F2.8 lens. Unfortunately, the 24-60mm F2.8 lens takes 72mm filters, so one set of filters won't be compatible with the entire lens set. There's also a USB port for firmware updates and weather sealing.
The 60-180mm F2.8 joins the 14-24mm F2.8 and 24-60mm F2.8, completing what LK Samyang calls "The Perfect F2.8 Trinity System."
Photo: Horia Vlad Bogdan / LK Samyang
The lens is only available for E-mount for now. However, LK Samyang recently released an L-mount version of the 14-24mm, and it says that the series will "continue to grow with L-mount." It isn't clear when we can expect it, but L-mount users should be able to count on the full trio coming to their system at some point.
The LK Samyang AF 60-180mm F2.8 FE lens is available for purchase starting today, though it hasn't specified a price. The company also says it will gradually launch across global markets with no set dates for specific regions.
LK SAMYANG Introduces AF 60-180mm F2.8 FE Completing an Ultra-Light Compact Zoom System with Three LensesKey Message
July 02, 2026 - South Korea, LK SAMYANG, a global optical specialist, announces the upcoming launch of the AF 60-180mm F2.8 FE, developed in collaboration with Schneider-Kreuznach, scheduled for release this July.
As camera and lens performance continues to advance, the burden of heavier gear has also increased. Carrying multiple lenses to cover a wide focal range remains a challenge for creators. LK SAMYANG set out to rethink this balance with a simple question: "What if you could carry less, capture more, without compromising performance?". This philosophy led to the development of the "Compact Zoom Series" in collaboration with Schneider-Kreuznach aimed at redefining the balance between performance and portability. The new AF 60-180mm F2.8 FE further extends this vision.
Together with the AF 14-24mm F2.8 FE (445g) and AF 24-60mm F2.8 FE (494g), the new lens
completes a truly lightweight zoom system, covering the entire focal range from 14mm to 180mm using just three lenses. Each lens in the series reflects LK SAMYANG’s consistent design philosophy delivering compact size, reduced weight, and practical usability without compromise.
Key Features
A New Standard in Lightweight Telephoto Zoom: Only 730g
The AF 60-180mm F2.8 FE weighs 730g and features a compact length of 149mm (wide) / 174.4mm (tele), offering exceptional portability within the F2.8 telephoto zoom category. Compared to traditional 70-200mm lenses, its significantly lighter design reduces fatigue during extended shooting sessions and enhances mobility in dynamic environments.
Constant F2.8 with Enhanced Close-Up Capability
With a constant F2.8 aperture throughout the zoom range, the lens ensures stable performance in low-light conditions and delivers smooth background separation, making it ideal for portrait photography. It also offers a maximum magnification of 0.26x (1:3.80), enabling detailed close-up shots and expanding creative possibilities across various shooting scenarios.
Compact Zoom Series, Co-Engineered with Schneider-Kreuznach
Developed in collaboration with Schneider-Kreuznach, the AF 60-180mm F2.8 FE embodies the core philosophy of the Compact Zoom Series, balancing optical performance and portability. The advanced optical design consists of 17 elements in 14 groups (including 1 HR, 7 ED, and 2 ASP elements), effectively minimizing aberrations while delivering sharp and clear images. A floating focus system ensures consistent image quality across the entire focus range.
Designed for Real-World Use
Equipped with a Linear Stepping Motor, the lens delivers fast and precise autofocus, making it suitable for both photography and video applications. Weather sealing enhances durability across various environments, while intuitive controls such as the AF/MF switch improve usability. In addition, the Zoom Lock function prevents unwanted zoom extension (zoom creep) during movement, keeping the lens securely in place. This ensures stable handling and a consistent user experience from transport to shooting.
Lightweight Coverage from 14mm to 180mm
The AF 60-180mm F2.8 FE expands the design philosophy of the Compact Zoom Series, enabling creators to cover a wide focal range with minimal weight. With three lenses weighing approximately 445g, 494g, and 730g, users can achieve seamless coverage from 14mm to 180mm while maintaining exceptional portability.
Availability
The LK SAMYANG AF 60-180mm F2.8 FE lens will be available for purchase starting today, with sales gradually launching across global markets through LK SAMYANG’s distribution network and authorized retailers. (For more information, please visit www.lksamyang.com)
