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Leica’s M11-P Safari - A Closer Look

Leica has introduced a new special edition of its M11-P rangefinder: the M11-P Safari. This version continues Leica’s long-running tradition of olive-green “Safari” models, which dates back to the 1970s. As with past editions, the changes are mostly on the outside — the internals remain the same as the standard M11-P.

The M11-P Safari features a brass top plate finished in matte olive green, along with matching green leatherette. The dials and buttons are finished in silver, and Leica has replaced its usual red dot logo with a silver screw for a cleaner look — similar to the regular M11-P, which also has no red dot but uses a black screw instead.

Inside, the camera includes the same 60-megapixel BSI CMOS sensor with Leica’s “Triple Resolution Technology,” letting users choose between 60, 36, or 18 megapixels depending on their needs. It also includes Leica’s Maestro III image processor, 14-bit DNG capture, ISO from 50 to 50,000, and up to 4.5 fps continuous shooting.

Like the standard M11-P, the Safari edition has 256GB of internal memory alongside a UHS-II SD card slot, and includes support for Content Credentials — a feature that attaches tamper-proof metadata to each image. On the back is a 2.95-inch touchscreen, and the camera uses Leica’s classic M-mount, compatible with a wide range of M-series lenses.

The Leica M11-P Safari is available now through Leica Stores and authorized dealers. It’s priced at $10,495 — about $655 more than the standard M11-P.

Image credits: Leica

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Interview with Visual Tale

This week’s Interview with Samsul (aka visual tale), a very talented photographer originally from Bangladesh, now living in Sweden.

You can find him on Instagram as: @visualtale

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

My name is Samsul Alam Al-Majidi, originally from Bangladesh. I moved to Sweden in 2017 to pursue a master’s degree at Jönköping University. It was a pretty big shift—going from Dhaka, where life is always in motion and people are everywhere, to a quiet town in Sweden where everything felt more distant and reserved. That cultural shock hit me hard at first. I struggled to adjust to the silence, the space, even the cold. But in time, I found my rhythm. Eventually, I moved to Stockholm, which felt more alive and balanced. I completed my master’s in Leadership for Sustainable Development here. Through all these transitions, photography stayed with me—it helped me process change and find calm in unfamiliar surroundings.

How did you get into photography?

I got my first camera—a Nikon D7200—around 2015 or 2016. At that time, I had just started discovering the world of Instagram and I was blown away by the photos I saw there. It wasn’t just about pretty pictures—it was people documenting their world, their perspective. That resonated with me. A close friend of mine, who’s a photographer himself, really encouraged me to start. He took me out on the streets and showed me how to observe, how to approach a moment quietly, and most importantly, how to overcome the discomfort of pointing your camera at strangers. That early push really shaped how I see photography now.

What role does composition play in your photos?

Composition is everything to me. I always shoot vertically—it feels more immersive, almost like you’re stepping into the scene instead of just observing it. I pay close attention to light and shadow, especially on sunny days. The play between the two creates depth and emotion, and it adds a cinematic quality to ordinary moments. I think that’s where my love for storytelling comes in—I’m not just looking for an aesthetically pleasing shot, I’m looking to freeze a little piece of emotion inside the frame.

What do you think sets your work apart from others in the industry?

I try to focus on feeling, not just the image. My work is always about telling a story—even if it’s subtle. Maybe it’s the way light falls on someone’s face as they walk down the street, or the stillness of a moment when everyone else is rushing by. I also like to pay close attention to details—reflections, textures, posture. I think people respond to those small touches because they can feel the intention behind them. I’m not trying to show off a location or a trend—I’m trying to show how it felt to be there.

How do you stay inspired and motivated to continue creating new and unique photographs?

I walk a lot. Even when I don’t have my camera with me, I observe. Stockholm might seem small after living in Dhaka, but even familiar places feel new depending on the weather, the season, or even my mood. One day there’s fog, the next day everything is covered in golden light—it’s endless, really. I don’t wait for inspiration; I go out and find it. The city changes every day, and that keeps me motivated. Even the rain has a story to tell if you’re patient enough.

What are some of the most important qualities for a great photographer to have, in your opinion?

Consistency, definitely. Keep showing up—even when your shots don’t feel special, even when you feel uninspired. You have to keep going. Also, I think humility is important. Know that you’ll make mistakes and that your taste will evolve. The best photographers I know never stop learning. They’re always curious, always pushing themselves, always trying to see in new ways.

What gear do you use?

Right now I use a Sony A7IV with the 85mm 1.8 lens—it’s amazing for low-light conditions, so I usually bring it out during winter and autumn when the light disappears early. But honestly, my current favorite setup is the Fujifilm XT-5 with the Fujinon 33mm 1.4 lens. It just feels right in my hand—it’s compact but powerful, and the images it produces feel cinematic in a way that I love.

What is your editing software of choice and how much time do you spend editing?

I mostly use Lightroom, but I’ll admit—I’m a bit lazy when it comes to editing. I don’t really sit at a desk with a big screen. I just use the Lightroom app on my iPhone, usually while commuting or waiting for a friend. I like to keep the editing minimal.

How did you find your signature photography/editing style?

I don’t think I have a single fixed style, to be honest. My style shifts with time and the seasons. I might lean into darker tones during winter and brighter contrasts in the summer. I experiment a lot, and if something clicks, I run with it for a while. But I never lock myself into one look. I like the freedom to change.

Reels or photos? And why?

Mostly photos. I take reels only when I feel like a scene needs movement—like when wind or rain adds to the mood. But that’s rare. I prefer taking a photo, enjoying the scene in real time, and then moving on. I’m not the kind of person who wants to stay in one spot filming for 30 minutes. I like to wander and chase the next moment.

What does photography mean to you?

Photography means happiness. It’s how I stay connected to the world around me. As someone who moved to a new country, photography helped me feel rooted again. It gave me a sense of purpose in unfamiliar streets. Through the lens, I started noticing little stories everywhere. It gave meaning to my daily walks.

Do you prefer shooting alone or with company?

I used to go out with friends, and I still do sometimes. It’s nice to share the process and bounce ideas off each other. But if I’m being honest, I prefer shooting alone now. It helps me focus and notice the quieter moments. There’s less pressure. I can walk slower, wait longer, and just enjoy the experience without distraction.

Any tips for beginners?

Don’t overthink. Just start shooting. Don’t be afraid of taking bad pictures—they’re necessary. And if someone ever asks you to delete a shot, and you feel it’s the ethical thing to do, then do it. But don’t let fear stop you from capturing something meaningful. You’ll learn more from experience than from tutorials.

Is AI going to replace photographers?

The rest, 6 more questions, of this Interview are for Premium subscribers only.

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Capture One Is Back

After a long quiet stretch following the release of Capture One Studio, Capture One is back with a full redesign of its software and brand. The new version brings updated tools for portrait retouching, workflow management, and a fresh logo, all aimed at making the editing process more efficient and contained within Capture One itself.

The main focus this time is on portrait editing. New AI-driven tools like Blemish Removal, Even Skin, Dark Circle Reduction, and Contouring are designed to help photographers make quick, subtle adjustments to faces, either live while shooting tethered, or later during post-processing.

Blemish Removal automatically finds and softens blemishes while trying to keep skin texture and details like beauty marks intact. Even Skin smooths tones across the face without flattening the look, using frequency separation in the background. Dark Circle Reduction works with a single slider to brighten under-eye areas, and Contouring adds subtle definition to facial features, like an automated dodge-and-burn.

On the workflow side, Capture One has introduced a Session Builder. It’s meant to help photographers stay organized by letting them quickly set up folder structures within their sessions. For Capture One Studio users, there are additional automation options — like naming rules and reusable folder templates. The Library tool now shows the full folder structure more clearly.

Between the AI retouching and improved session tools, Capture One is trying to position itself as a true all-in-one editing environment, so a place where photographers don’t have to bounce between programs to get through a shoot or edit.

The software also comes with a new look. The multicolored, swirly "1" logo has been replaced by a simpler, monochrome design: a “C” encircling a small “O,” with a minimalist wordmark to match.

One thing that hasn’t been updated yet is Capture One Mobile. Despite launching a couple of years ago after a long development cycle, there’s been no word on new features or changes for the mobile app.

Capture One is available to try for free. Subscriptions start at $15.75/month with an annual commitment, or $25/month for month-to-month. There’s also an All-in-One plan with extra features like online collaboration tools and content credentials, starting at $22.83/month when billed annually. For users who prefer a one-time license, Capture One Pro is available for $317, though that version won’t receive future updates or support for new cameras and lenses.

Image credits: Capture One

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @eugeniahanganu

Let’s Analyse this Image

Composition

What works well:

• The tram tracks act like visual guides, pulling your eye straight into the centre of the frame. It's like classic leading lines, but done with more elegance.

• The tram is dead centre, but it doesn’t feel boring, there is symmetry without stiffness. The people on either side as well as the car add just enough messiness to keep it feeling candid and natural.

• That red and yellow tram? It’s the perfect anchor. Pops right off the softer background tones and gives the whole image a focal point you can’t miss.

What could be better:

• A bit more room at the bottom might help those tracks “lead” even more.

• The person in the tram window is really great, but a small gesture (like a wave or looking out) could’ve added a little extra spark of life, (but that is out of your control)

Lighting

What works well:

• That golden light across the street is doing beautiful work. It adds depth and warmth without getting too harsh.

• The way the buildings catch that soft side-light gives the whole street a layered, and a very nice painterly texture.

• Highlights on the tram make it the star without washing it out. It’s glowy, not blown out.

What could be better:

• A little more light hitting the people on the left sidewalk would pull them forward just enough, they’re there yes, but kind of lost in the shadows.

• The sky’s a bit washed out, though that might just be the time of day. Still, a touch of gradient or cloud detail could’ve added something.

Framing & Perspective

What works well:

• Shooting from low and centered makes the whole scene feel cinematic, like you’re standing in the middle of a Wes Anderson frame.

• The tight street with tall buildings adds that, compressed city vibe, like everything’s happening in a contained little world.

• The poles, balconies, wires they all frame the tram subtly without cluttering the shot. The wires being especially noteworthy, since in almost all tram photos they really do clutter the frame.

What could be better:

• That blue street sign. It doesn’t ruin the shot, but some people would say that it competes for attention with the tram (our subject) and pulls your eyes away.

• A slight tilt or off-angle perspective could’ve made it feel a bit more dynamic, but honestly, the straight-on approach works really well here too.

Storytelling

What works well:

• It feels like a candid city moment, locals waiting for the tram, light spilling down the street, just a regular day of life.

• The person in the window (the tram conductor) adds a sense of quiet observation, like they’re watching the street and what is happening unfold, just like we are.

• There’s a sense of routine here, but it’s elevated. Ordinary life, but on a slightly more special day.

What could be better:

• A small story element, someone waving goodbye, a kid chasing something, someone crossing the street/running to catch the tram, could add a better emotional hook.

• Right now it’s observational, not emotional. It looks amazing, but a tiny human twist, like just described, could take it further.

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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Photographer of the Week

Photographer of the week goes to: Carin Nibbering

You can find her on Instagram as: @carin_captures

A few of her images:

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The Rest of this Issue is for Premium Subscribers

The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price.