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Leica’s Summilux-M 50mm f/1.4

Leica’s new Summilux-M 50mm f/1.4 Classic lens is basically a love letter to the past, combining vintage looks with modern performance. It’s designed to feel like something straight out of the ‘50s, with a solid brass build and old-school engravings, but underneath, it’s got a few upgrades to keep up with today’s cameras. If you love that classic Leica aesthetic, this one’s right up your alley.

The design is inspired by the Summilux 50mm f/1.4 from 1962, which had a legendary run of over 40 years. Photographers loved it for its soft, dreamy bokeh at f/1.4, and Leica promises this new version keeps that same beautiful rendering. Stop it down a bit, though, and you’ll notice better contrast and sharper details—modern glass and precision engineering make sure of that.

One handy improvement is the close-focus distance, now down to 0.7 meters instead of the old one-meter limit. It might not seem like a big deal, but it gives you a little more flexibility for tighter shots. Other than that, the core optical design stays true to its roots, with seven elements in five groups and a 12-blade aperture for that smooth, creamy background blur.

And, of course, it’s a Leica—handmade in Germany, built to last, and priced accordingly. The Summilux-M 50mm f/1.4 Classic is available for $3,895 through Leica stores and authorized dealers. As a small bonus, it’s also the first Leica lens to ship in plastic-free packaging, which is a nice touch.

A Few sample Image:

Image credits: Leica

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Interview with Alina Behfar

This week’s Interview with the amazing Alina Behfar, a street photographer from Hamburg, Germany.

You can find her on Instagram as: @alina.beez

Enjoy the amazing Interview ;)

Can you introduce yourself to my readers?

My name is Alina, I started the journey of photography/videography to give the creativity that lives in me a place.

How did your photography journey begin?

Actually it started back in the days with short video clips while matching picture and sound shooting on my iPhone. That was even before Reels were introduced. Then I switched very quickly to Photography with the aim to get the perfect single frame. But I still have fun shooting Video in between

How do you determine the right camera settings for a particular shot?

After years of experimenting with different settings and modes, I now shoot mostly in Manual Mode. It gives me the full creative control I need to get the exact look I want. During nighttime shoots, I always try to keep the ISO low to avoid noise and maintain a clean image. Aperture is more of a creative decision—sometimes I want that dreamy, shallow depth of field, and other times I go for a deeper focus to capture more detail. The key is understanding light and how it interacts with your camera’s sensor. Once you get that, adjusting settings becomes second nature.

You do travel a lot. What location was your favourite to shoot?

Actually, I don’t travel as much as people might think! A lot of my work comes from my hometown, Hamburg, because I believe you don’t have to go far to find interesting scenes. That being said, London has been my favorite place to shoot so far. The city has this incredible mix of modern and historic architecture, constantly changing light, and an energy that makes street photography so exciting. Every corner feels like a new scene waiting to be captured. I also love how unpredictable London can be—it forces you to stay on your toes as a photographer.

How do you edit your photos and what software do you use?

I only use Lightroom. Each photo is edited individually because I believe every image has its own story and feeling, which is hard to capture with presets. I used to try presets, but at some point, I realized they were limiting my creativity. Now, I focus on enhancing what’s already in the photo rather than making every image look the same.

Do you prefer Street-photography or Nature/ Landscape-photography and why?

I shoot Street but I enjoy other genres from other talented people as well. I admire landscape and nature photography, though—some photographers have an incredible way of making nature feel alive in their images. But for me, the energy of the streets, the people, and the spontaneous moments are what I’m most drawn to.

What gear do you use?

Sony a7!V with a Sigma Art 35mm, 1.2 or a Sony GM 24mm and 135mm.

What is your ultimate goal as a photographer?

To always enjoy it. Photography started as a creative outlet, and I never want it to turn into something that feels like pressure. The moment I start forcing creativity, I know I need to take a step back. My goal is to keep evolving, stay curious, and never lose that excitement I had when I first started. If my work resonates with people along the way, that’s a huge bonus.

Do you like to shoot alone or with company and why?

Mostly alone. I put on my headphones, find a good beat, and just get lost in the process. There’s something meditative about wandering through a city, camera in hand, observing everything around me. I do have a few people I can shoot with effectively, but in general, I find that I work best when I don’t have to think about anything except the shot.

What advice would you give to someone who is just starting out in photography?

Try everything. Experiment with different styles, settings, and techniques. Don’t let anyone tell you what’s “right” or “wrong” in photography—there are no strict rules. Some of the best photos come from breaking conventions. Most importantly, shoot for yourself, not for likes or validation. If you enjoy the process, you’ll naturally improve and find your own unique style.

What’s one thing about photography that people often misunderstand?

A lot of people think it’s all about having the best gear, but that’s far from the truth. A great camera can help, sure, but what really makes a difference is how you see the world. Your perspective, your creativity, and your ability to capture emotions matter way more than having the latest camera. Some of my favourite shots were taken with basic equipment because the moment and composition were strong.

How do you stay inspired when you feel creatively stuck?

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Canon’s Compact PowerShot V1

Canon just announced the PowerShot V1, a compact camera aimed squarely at content creators, especially those focused on video. It’s got a 22.3-megapixel sensor, a built-in zoom lens, and plenty of video-focused features that seem like a direct challenge to Sony’s ZV-1 Mark II.

The sensor is a big deal here—it’s a newly developed Type 1.4 sensor, which is larger than what Canon usually puts in its fixed-lens cameras. It’s roughly the size of a Micro Four Thirds sensor, though a little wider and not quite as tall. While it’s not a stacked sensor, it’s still fast enough to handle 4K at 60p. The catch? That high frame rate comes with a 1.4x crop.

Since this camera is clearly designed for video first, there’s no built-in flash or electronic viewfinder, just a flip-out LCD screen. It does, however, come packed with some solid video tools—Canon Log 3 for better dynamic range, a built-in three-stop ND filter, a headphone and mic jack, and even a cooling fan to prevent overheating. Canon says you can record 4K/60p for over two hours if you tweak the auto power-off settings. The camera also includes a small dead cat (wind muff) in the box, which is a nice touch for vloggers.

The built-in lens is a 16-50mm f/2.8-4.5 equivalent, which is wider than what Canon has used in similar cameras before. This makes sense for video since it’s better for handheld shots, group videos, and vlogging. There are also some built-in “movie shooting moods,” a first for the PowerShot lineup, which suggests Canon wants this camera to be a true plug-and-play solution for creators.

If you’re shooting in 4K/30p, the camera makes full use of the sensor and oversamples from 5.7K for sharper footage. The ISO goes up to 25,600 in video mode and 51,200 for photos. Speaking of stills, the PowerShot V1 can shoot 22.3MP photos at up to 30 frames per second, and it borrows the autofocus system from the R6 Mark II, meaning it has subject tracking for people, animals, and even vehicles. There’s also a “subject tracking IS” feature that stabilizes video by adjusting the crop based on the subject’s movement.

Switching between video and photo modes is easy thanks to a dedicated toggle that remembers separate settings for each. You can also connect the camera to a smartphone via USB-C, WiFi, or Bluetooth through the Canon Connect app, and it works as a webcam without needing an adapter.

Here’s the catch: Canon hasn’t said when (or if) the PowerShot V1 will be available globally. For now, it’s only confirmed for Japan, Korea, Hong Kong, China, and Taiwan, with no pricing details yet. It’s possible we’ll get more info after CP+ in Yokohama next week, but for now, creators outside of Asia will have to wait and see.

Image Credits: Canon

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: @southoptic

Let’s Analyse this Image

Composition & Framing

• What’s working:
  The composition is well executed. The leading lines of the wet pavement and the surrounding buildings guide the viewer’s eye directly to the person with the umbrella, creating a strong focal point. The placement of Tower Bridge in the blurred background adds depth and context without distracting from the main subject.

• What could be tweaked:
  The left side is slightly heavier in terms of negative space. A slight crop or adjustment could balance the weight between the two sides, but that depends on the intended feel of the image.

Lighting & Mood

• What’s working:
  The cool, muted tones give the scene a moody, cinematic feel, enhancing the atmosphere of a rainy day in London. The wet pavement reflects soft light beautifully adding texture.

• What could be tweaked:
  The lighting is already quite atmospheric, but a subtle increase in contrast or clarity on the subject could make them stand out even more against the softer background.

Depth & Perspective

• What’s working:
  The depth is fantastic. The foreground (wet pavement), midground (person with the umbrella), and background (iconic architecture) all work together to create layers in the image.

• What could be tweaked:
  Nothing major here—it’s very well executed. If anything, a subtle vignette could further enhance the feeling of being drawn into the scene, however with the already negative space on the sides it could get too much.

Story & Emotion

• What’s working:
  The solitary person walking in the rain with an umbrella gives a feeling of mystery, loneliness, etc. The overcast sky and wet streets make it feel like a quiet, cinematic moment—like a frame from a noir film.

• What could be tweaked:
  If you wanted to push the storytelling further, ‘‘adding’’ a second person in the distance (slightly blurred) could create a sense of anticipation—who is the person going to meet? Are they walking alone by choice or chance? But this is a stylistic choice, and the image is already powerful as is.

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: Alessio Salvati

You can find him on Instagram as: @alessio_salvati_foto

A few of his images:

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Wacom’s Intuos Pro Pen Tablets - Edit Like a Pro?

Wacom is giving some love to its classic pen tablets again. While the company has been all about pen displays like last year’s Movink 13, its Intuos series has been kind of neglected—until now. The brand-new Intuos Pro lineup is here, and Wacom says it’s their most precise pen tablet yet.

Not everyone wants (or needs) a built-in screen like a Cintiq. Many photographers and artists already have great monitors, and a traditional pen tablet lets them keep using their preferred setup while still getting that smooth, natural pen control. That’s where the new Intuos Pro comes in. It brings over the same Pro Pen 3 tech from Wacom’s high-end Cintiq Pro displays but in a redesigned, screen-free format.

This isn’t just a minor refresh—it’s a full rebuild from the ground up. Wacom paired the Pro Pen 3 with a new digitizer and upgraded processing chip, promising better accuracy, longer battery life, and smoother performance compared to the last Intuos Pro from 2017. If you’re attached to an older Wacom pen, no worries—this one still works with previous Wacom styluses and even some third-party EMR pens from brands like Pilot, Lamy, and Staedtler. That said, the Pro Pen 3 is probably the best bet for photographers and designers since it has customizable buttons that can be mapped to editing shortcuts.

Koji Yano, Wacom’s Senior VP of Branded Business, summed it up: “As software evolves, the need for precision increases. When we started to redesign our flagship product, we began with the foundation of precision.”

The new Intuos Pro comes in three sizes—small, medium, and large. They all have the same design and pen functionality, but the two bigger ones get 10 ExpressKeys and two control dials, while the small version has five buttons and one dial. One of the biggest design changes? Wacom moved the controls from the sides to the top, which allows for a bigger active drawing area without making the tablet itself wider.

Here’s how the active drawing space sizes up: Small: 7.4 x 4.1 inches (188 x 104 mm), Medium: 10.4 x 5.8 inches (264 x 147 mm), Large: 13.7 x 7.7 inches (348 x 196 mm)

The tablet works for both right- and left-handed users, supports Mac and Windows, and connects via USB-C or Bluetooth 5.3. The ExpressKeys and dials are fully customizable, so you can set it up exactly how you like.

The new Intuos Pro lineup is available for preorder now and starts shipping this spring. Pricing is set at $250 for the small version, $380 for the medium, and $500 for the large.

Image credits: Wacom

The Rest of this Issue is for Premium Subscribers

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