Leica Q3 43 APO Review

By: Thorsten Overgaard.

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Leica Q3 43: Always Ready

Always Wear A Camera, the Leica Q3 43 has it all. The built-in Electronic Viewfinder, the screen that tilts, low and high ISO, and no need for filters or special protection. It's simply the camera you grab that is always ready, and you can charge it on the go with any USB-C cable. And then the Leica Q3 43 has something its predecessors didn't have: A magnificent 43mm APO lens that takes this camera to 'next level image quality.'

Leica Q3 43 selfie. The Hotel Chelsea, New York. © Thorsten Overgaard.

This is the continuous review and user report on the Leica Q3 43. To stay in the know and get updates, sign up for the free newsletter here (comes with a free eBook as well). Not very different from the Leica Q3, my three articles on that camera might also be useful for you: '1. Review,' '2. The Prefect Menu Setup,' and '3. Extras and Downloads.'

I am also the author of the books on the Leica Q models, which is why the "Leica Q3 Know-All eBook" will be updated to include the Leica Q3 43.

All you need to know: Leica Q3 43

Here are the main takeaways that you need to know about the Leica Q3 43:

The new Leica Q3 43 APO is equipped with an unique APO lens, and it is 43mm. Somewhat the correct answer to the request for many years for a 35mm or 50mm version. Read the review after the release.

Comparison of 28mm, 43mm and 50mm

Here is the difference illustrated with the help of the Leica D-Lux 8 (2024), which has a 24-75mm zoom.

The 43mm is a very comfortable focal length, close enough to the 50mm, with a comfortable extra zone of capture. Like the traditional 50mm standard lens, a 43mm creates a 'tunnel vision' where you exclude from the frame what is not part of the storytelling.

A 28mm wide-angle lens, as you know, captures more - about as wide as an iPhone camera - which can be handy for many things, but also makes it a challenge to exclude elements from the frame you might not want as part of your story.

Traditional 50mm standard lens frame.

Leica Q3 43 APO 43mm frame

Leica Q3 28mm frame.

Which lens are you?

Most people pick either 35mm or 50mm as their standard lens. Historically, the 35mm is the most sold Leica lens, and 50mm is right after. In that sense, a 43mm is a good answer to the question for most. Though there is more to this particular focal length, and more on that later.

I wrote this article, 'Which lens are you?' where I compare some of the well-known painters who, maybe surprisingly, had their preferred focal length.

Well-known painters had, maybe surprisingly, had their preferred focal length. Read about it in my article, "Which lens are you?".

Here is a comparison of Leica APO standard lenses:

"The roof is on fire" - Leica Q3 43mm MTF

	Leica 43mm APO-Summicron f/2.0 ASPH on Leica Q3 43

I'd rather drink coffee and take photos than look at MTF graphs of lenses (Modulation Transfer Function). It is a measurement of a lens, which few can read, but optical designers use a lot in predicting how a lens will potentially perform.

Sort of like a graph, if it were a car, would tell top speed, how fast it gets from 0-100, and how many miles it will go on the gasoline.

The graph of the Leica Q3 43 is out of this world. It beats all of the above lenses.

Basically, what it shows is that the lens is extremely sharp in the center, and that sharpness continues all the way to the corners. With sharpness comes detail level, or clarity.

It doesn't get much better, and that is comforting to know.

How to read the MTF's: The higher up the lines are, the better sharpness (and details/clarity). Left side of the graph is center of the picture frame, right side is at the edge of the picture frame. In short, the Q3 43 APO is on par with the 50mm APO made for the SL system, and superior to the 50mm APO for the M system. From Fred Miranda Forum

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The departure from 28mm on a Leica Q

When the original Leica Q was released in July 2015, the Leica product manager, Peter Kruschewski, who had been in charge of the very secret development of the Leica Q model, revealed that the 28/1.7 lens was chosen because it resulted in the most compact design:

'We looked at various options, including a 35mm and a 50mm, naturally. In the end, it was the 28mm f/1.7 that gave us the most compact lens, and therefore the smallest camera body. We understand why this might surprise some people, but if our customers clamor for a 35mm or 50mm version, we're willing to make one. But not until we've successfully made the lenses more compact.'

Which then happened. The Leica Q3 43 is not only a compact enough lens, it might turn out to be quite a revolution in the lens lineup for Leica.

The idea of cropping the image

Part of the original idea of Leica lens designer Peter Karbe and the Leica Q team was that the Leica Q with a 28mm Summilux f/1.7 would produce such detailed photographs that one could use 'digital crop' to crop a 28mm photo into a 35mm, 50mm, 75mm, or even a 90mm image frame. This fits with the compact concept of not having a zoom lens, yet still having the ability to zoom. In the Leica Q3 43, the crop goes all the way to a 150mm crop, and here you can see the resulting file sizes:

43mm = 60,3 MP (9520 x 6336 pixels)
60mm = 30,8 MP
75mm = 19,9 MP
90mm =13,8 MP       
120mm = 7,69 MP
150mm = 4,92 MP

Peter Karbe did humorously mention to me once, when we talked about resolution and lens design, that one could 'just have one lens and then crop.' There is no doubt that, in his universe, it's already a done deal. Lens design can be done— and is in fact being done—with a resolution to do just that. All we have been waiting for are sensors with the capability to resolve the resolution those lenses can perform.

They knew back then, as we all fundamentally knew, that future sensors would grow from 24MP to 60MP to 100MP to 150MP and beyond. The Leica Q is designed for that future. That is why the lens on the Leica Q (2015) was unchanged in the next two models, the Leica Q2 and Leica Q3.

Particularly on the Leica Q2 Monochrom, you get an insight into what the lens combined with the lens correction software can accomplish: With a monochrome sensor, every single pixel is dedicated to collecting light, which fundamentally means that you can capture 4x the detail of a color sensor. Two green, one red, and one blue pixel are used on a color sensor to capture the details and the colors. In a monochrome sensor, all pixels are just recording how much light there is. This results in a mind-blowingly detailed image once you zoom in. Small faces in an image can be enlarged, and you see details you wouldn't see in the final print, but you realize they are there.

This gives an idea of how powerful the Leica Q with the 28mm is, and why cropping the image wouldn't hurt. There would still be enough resolution to produce a good photo.

Not easy to convince people 5MP is enough for an image

It is, but how do you sell someone who bought a 60MP camera the idea that 5MP is great? It's not an easy sell. People want all the megapixels they paid for. People who bought a 60MP camera just want 60MP images at whichever focal length. So even if I could explain to you that 10MP or even 5MP will do, you'll still want the full megapixel inventory applied to each image.

People have been asking for 35mm and 50mm versions of the Leica Q since the first was released in 2015. After all, the 35mm focal length is the most sold Leica lens, and 50mm is the second most sold focal length. The world population, as far as photography goes, is divided into 35mm and 50mm people.

And now, almost ten years later, it is here: a 'perfect' focal length that enables you to get 'full 60MP resolution' with a standard lens.

Photo: Ralph Gibson for Leica, 2005.

The perfection of the image: APO and 43mm

Here are two things that could possibly improve the image quality of the 28mm Summilux on a 60MP sensor, and then there is a third and fourth. Let me elaborate:

1. 43mm

43mm is a good compromise as most people have asked for a Leica Q with 35mm or 50mm ever since the original Leica Q was released in 2015. The 43mm, however, is more than a compromise. It's the focal length that likely comes closest to how the eye sees, as far as proportions go:

	Relative proportions

When you look at a person close to you and there is a truck in the background, the distance is judged by relative size. The person is taller than the truck, so the truck must be quite a bit further away. As the truck comes closer, its relative size to the person standing there increases, and when it is next to him, the truck is much larger than the person.

This is how we measure distances with the eye, and the 43mm format produces images that are similar to this way of judging sizes and distances.

If you take a photo with a wide-angle lens, the truck is very small, potentially very far away from the person. If you put on a telephoto lens, the background is pulled toward you, and the truck appears closer than it is.

The curious thing is that the eye sees as wide as a 9mm-24mm, but the size proportion is like a 43mm (the reason being that you scan areas of the viewing field and stitch them together as a single concept of vision).

Other than that, you will see ideas that the 43mm focal length matches the diagonal of a full-frame sensor (24x36), which is 43mm, and this should make it all match. It may or may not have any influence. This may also result in the 43mm focal length delivering the light rays at a perfect angle into the sensor pixels. I am purely performing some wishful speculating here, but...

Photo: Ralph Gibson for Leica, 2005.

2. APO

With their many new APO lens designs in recent years, Leica has reached a 'next level image quality,' as chief lens designer Peter Karbe expresses it. They learned a lot from making excellent lenses for APS-C cameras like the Leica TL2, but also wanted to make larger lenses for the Leica SL system, as well as the Leitz Cine, to utilize the quality possible to perfection.

'We had to implement many small steps, but everywhere, which add up to a lot in the end,' as Peter Karbe expresses it. This includes coatings, glass types, in-house grinding of glass, adjustment of lens centering, and precision in assembling. All this adds up to the next level of image quality that one sees in newer Leica lens designs. The 28mm Summilux f/1.7 on the Leica Q (2015) is a product of this, and now they have taken it further.

In lens design, one talks about aberrations, which means anything that leads away from a straight route. What lens designers deal with is minimizing or removing aberrations. All the work in precision, coatings, and everything Leica has been working on has had the aim of making the image clearer and more true to reality.

One of the big leaps is APO, which is not a new concept, as it has been used in long telephoto lenses. APO stands for 'apochromatically corrected,' which might be too large a word to take in for us today. Let me instead explain what it does. In lens design, APO means that the lens is specially engineered to reduce or eliminate color fringing, which happens when different colors of light don't focus at the same point.

APO corrected basically means that the three colors that make up every color photo (and monochrome photo)—red, green, and blue—have been corrected to meet more precisely at the same spot. Clarity of colors and definition of details are the result.

As you can imagine, if we are pointing a telescope at the stars, the light rays can separate quite a bit, which then creates a blurred image. You can't see details. It is mainly the red light that separates, so even though light travels at the speed of light, red light travels at a different speed. Scientists say it is 'delayed,' which is a fun way to avoid admitting that the speed of light differs, but in any case, the red light needs correction to land in the same spot to make a clear image.

When Leica has made APO telephoto lenses, they have always prided themselves on applying APO to the entire frame, not just the center sharpness.

Then Peter Karbe got the idea to apply APO to the Leica 50mm Summilux-M ASPH f/1.4 standard lens, which was released in 2004. But he found that putting APO on the lens name was a bit over the top, because APO is traditionally only used for telephoto lenses.

Since then, it has taken on its own life, most recently with a 35mm APO wide-angle lens for the Leica M system and a 21mm APO lens for the Leica SL system.

New York. The Leica Q3 43 is handy for street portraits. © Thorsten Overgaard.

Thanks to APO and other improvements in precision lens design, Peter Karbe and his team have also managed to make an f/2.0 lens appear as if it is an f/1.4 lens in terms of narrow depth of focus. An f/2.0 lens will offer a look similar to f/1.4 in terms of narrow depth of focus but with greater sharpness at the point of focus.

The lack of aberrations results in much more contrast at the point of focus than in an ordinary lens, and this contrast falls off very quickly in front of and behind the point of focus. This is how an f/2 lens can appear to have the same depth of focus as an f/1.4 lens—creating a more blurred out-of-focus background.

Peter Karbe follows in an impressive line of legendary optical designers at Leica, from Max Berek to Dr. Mandler. He has been the chief optical designer at Leica Camera AG in Wetzlar, Germany, since 2002. He retired in 2023 but then decided to stay as 'Senior Managing Expert Optics and Platform,' which basically translates into 'Only living rock star of Leica.' © Thorsten Overgaard.

3. Leica Q3 43 Color Science and Monochrome quality

When a lens can resolve details precisely, it results in more accurate colors (and monochrome tones as well).

While many are blown away by the sharpness and 'how small details you can see when you enlarge an APO photo,' it's the unseen details of the capture that make up the clarity and natural colors of the photo. It is very similar to high fidelity in music. We can all hear the music no matter what it is played on, but there is a level where every minute vibration of every instrument and voice is recorded and played on speakers so they appear. Same music, but now with so much more.

Same with an APO photo. Same photo, but now there are so many more details that make up the whole.

What is a good lens? Peter Karbe says a good lens is 'when you go closer, you see more,' which is understandable in the way a lens designer would measure it.

For me, a good lens is one that makes colors, textures, skin, hair, shapes, and everything else look so natural I can sense how it would feel to touch it. Fundamentally, remove the optics, sensor, and all of it, and when there is only the image, exactly what you saw, it is pure truth.

Leica lens design is serious business: Blowing a test image up on a wall, and then taking a loupe to examine the details of the performance. Leica 28mm Summilux-M ASPH f/1.4. © Thorsten Overgaard.

And yes, at other times I seek the timeless and elegant, which oftentimes may involve using an older lens that sees things softer and with some level of 'natural hallucination.' You could call it classic (like the 50mm Rigid from the 1950s), and some of them are 'rock'n'roll' lenses—like the 50mm Noctilux.

Beneath their possible perfection, Leica lenses, however, have in common that they all possess the ability to capture the true details of the matter and texture; their differences lie in how they paint with light on top of it.

The legacy of Leica lens designers has been, throughout the last 100 years, that they pushed the technical capabilities of glass, design, grinding, coatings, and assembling, but at the same time, they knew how to add soul to it. This is when you work beyond what a machine or a scientific calculation can tell you to do; when you make decisions that affect the soul and feel of the image, rather than just trying to get the best performance numbers.

We remember Muhammad Ali not for his points scored, but for his overall performance as a person and a boxer. Similarly, few care to read a lens' numbers to see if it is great. You look at the images.

The Leica lenses, from the early beginnings to the present time and the Leica Q3 43mm APO, have that touch of magic in that they actually capture the details that make up texture, skin, and forms, and then they add the magic of painting with light. What the APO generation of lenses contributes to the mix is less undesirable light noise or hit-and-miss reflections, so that what is of essence stands out cleaner and clearer.

50mm standard lens as it used to be, on a Leica M: The 1956 model of the 50mm Summicron-M f/2.0 'Rigid' and the limited edition black paint 50mm APO-Summicron-M f/2.0. © Thorsten Overgaard.

4. Narrow dept of Field, and Bokeh

With the 43mm f/2.0 also comes a narrower depth of focus than the 28mm f/1.7. It's just how it is: the longer the focal length, the narrower the depth of focus, and the easier it is to produce blurred backgrounds and foregrounds.

For me, the key selling point of the Leica Q3 43 is that it is closer to my usual preferred 50mm lens, and that it has APO.

That said, APO also, at least when Peter Karbe's optical team makes them, makes an f/2.0 lens appear as an f/1.4 lens in terms of narrow depth of field, simply by controlling the area in focus that has higher contrast, while the out-of-focus backgrounds reduce quickly in contrast and thus appear further away.

Depth of Field as seen by the extreme f/0.95 50mm Leica Noctilux lens: Focus is on the flowers and the photograph on the desk, and the foreground and background are blurred as the depth of focus is narrow. You can produce something similar with a 28mm f/1.7 if you go closer, because the closer you focus, the narrower the depth of focus will be. Similarly, the further away the background, the less in focus it will be (long backgrounds or 'long shot').

Which Leica Q to get? 

Here is an overview of the different Q models, as well as the most recent Leica M models.

Model	Leica Q3 43	Leica Q3	Leica Q3M	Leica Q2M	Leica Q2	Leica Q-P	Leica Q (116)	Leica M11	Leica M10
Lens	43mm APO Summicron ASPH f/2.0	28mm Summilux ASPH f/1.7		28mm Summilux ASPH f/1.7	28mm Summilux ASPH f/1.7	28mm Summilux ASPH f/1.7	28mm Summilux ASPH f/1.7
EVF	5.7M MP	5.7M MP		3.68 MP	3.68 MP	3.68 MP	3.68 MP	Extra: 3.7 MP	Extra: 2.4 MP
Screen	Flip-up Touch Screen	Flip-up Touch Screen		Touch Screen	Touch Screen	Touch Screen	Touch Screen	Touch Screen	Touch Screen
Start	2024	2023	Not yet	2020	2019	2018	2015	2022	2017
End	-	-		2025	2023	2019	2019	-	2022
MP	60	60		47	47	24	24	60	24
Sensor	BSI CMOS	BSI CMOS		CMOS	CMOS	CMOS	CMOS	CMOS	CMOS
Sensor	Color	Color	B&W	B&W	Color	Color	Color	Color	Color
Format	24x36	24x36		24x36	24x36	24x36	24x36	24x36	24x36
Digital crop	60mm 75mm 120mm 150mm	35mm 50mm 75mm 90mm		35mm 50mm 75mm	35mm 50mm 75mm	35mm 50mm 75mm	35mm 50mm 75mm		No
AA filter	No	No		No	No	No	No	No	No
Focusing	AF Phase Contrast Depth AI + Manual	AF Phase Contrast Depth AI + Manual		AF Contrast + Manual	AF Contrast + Manual	AF + Manual	AF + Manual	Manual	Manual
Video	8K	8K		4K	4K	HD	HD	No	No
Adapters								Leica R  Nikkor LeicaCine Leica  screw mount	Leica R  Nikkor LeicaCine Leica  screw mount
Mirrorless	Yes	Yes		Yes	Yes	Yes	Yes	Yes	Yes
USB-C port	Yes	Yes				Micro	Micro	Yes	Extra
Weight	794g	743g		718g	718g	640g	640g	530g +lens	647g + lens
Price new	$6,895	$6,295		$6,195	$5,995	$4,250	$4,250	$9,300	$6,595

My video Review of the Leica Q3

I recently went over the history and heritage of the Leica Q concept and how we arrived at the Leica Q3 series today.

The Leica Q3 Review and heritage, by Thorsten Overgaard.

Most likely, a Leica Q user will get a Leica M within weeks or months

It is almost a statistical fact that more than half of those who buy a Leica Q model end up with a Leica M model. A smaller percentage gravitate to the Leica SL3 system, which is - logically - more of an expansion of the Leica Q model technology.

It's so predictable that even when you research the Leica Q model, you already drool over the Leica M. You know where this is going, but you tell yourself you will just get a Leica Q model.

That the Leica M is the next step is easy to understand because it is an emotional choice, and the Leica Q models are a resurgence of why you originally wanted to photograph.

Nobody ever had an urge to photograph and then decided it should result in a large collection of lenses and a camera, preferably in a system so advanced it can't be figured out easily, and at the same time so heavy that the greatest pleasure is finding reasons to leave it at home.

You had an urge to photograph because you want to preserve and beautify life, and you want to walk the streets and travel the world as an adventurer, storyteller, and visual poet.

These qualities are exactly what the Leica Q models are designed to bring out. In fact, they don't have any of the stuff that can be discussed for days on photo forums.

The Leica Q3 and Leica Q3 43 APO have some qualities over the Leica Q (2015) and Leica Q2 (2019) that appeal to 'nerds' who used to use Sony, Fujifilm, or other cameras that come with 750 menu items and plenty of Fn (Function) buttons on the camera that you can program yourself.

Leica Q3 43. JPG Monochrom straight out of the camera. © Thorsten Overgaard.

A Couple of Curious Stories

A friend here locally used to have Sony and suitcases full of Sony lenses, as well as more suitcases with vintage lenses from all around the world, fitted for his Sony. But then he got a Leica Q3 and got rid of it all. As an advanced and 'technological user,' he liked all the fancy settings on the Sony, but he liked the quality of the images from the Leica Q3 better. As an advanced user, he uses some of the advanced features in the Leica Q3 that I wouldn't necessarily touch, such as focus tracking. For him, it just nails the most ridiculous, impossible photos. (When you look at the screen, it looks slow, but the actual focusing is faster than the preview on the screen, and he knew that. "Faster than his own shadow").

The Leica Q3 focus modes look sticky and slow on the preview, but in fact, they nail it, even when you didn't think so. Like Lucky Luke, who's known for being "Faster than his own shadow." By Morris (Maurice De Bevere, 1923-2001).

I mention these as I see 'tech nerds' gravitate to the Leica Q3, which has included more nerdy features of the kind that weren't in the Leica Q2 (2019) and Leica Q (2015), but which those 'tech nerds' are well familiar with and believe no photo can be made without.

Also, I spoke with a gentleman from London who hit me up on LinkedIn a few days ago, and we spoke for half an hour. Same scenario: a ton of Sony lenses, but the Leica Q3 was what he felt would bring him back to photography. High quality, compact, loveable. He just needed to get confirmation that he hadn't lost his mind.

Getting Back to the Soul of Photography

The point of photography is not to have, at home in a closet, all the equipment one would ever need to capture any possible photo. The idea of photography is to take pictures and feel good about it.

Sending it all back to the dealer and simply having just a Leica Q model is like selling your three houses and traveling from one exotic hotel to the next with just a suitcase. It's liberating, and if there is one common denominator among the Leica folks I meet, it's that they don't want to be bothered with all the cheap stuff in life. They just want to focus and be good at the few things they feel are important.

Your Next Camera Is ...

I am not reading you your future; this is rather my advice on what direction to look in:

The Leica M10-P is the Leica M camera to get, and here are the reasons. This is a camera that makes you feel like you took the photo, that you worked for it, made a decision, and nailed it. It also feels like a film camera, and due to the dampened shutter (which was introduced with the Leica M10-P), it may almost sound like a film camera.

The Leica M10-P is 100 years of evolution from the Leica that was invented in 1925, refined into a digital camera, and the M10 models have been going strong since 2017 with no odd colors, no freezing, or anything.

The Leica M10-P is a workhorse, and it's only available second-hand (saved you $5,000 right there), except for a few stacked in the back of some Hong Kong or Austrian camera stores. Also, this model exists in limited-edition versions like Safari Green, all White, and a few others if you want it to be a truly personal experience.

The lens for the camera should be either the Leica Summilux-M ASPH f/1.4 or the Leica 35mm Summilux-M ASPH f/1.4. Pick any used or new model—these lenses have been the gold standard for getting stuff done for the past 15-20 years.

The Leica M10-P is the refined modern version of the Leica M models. Tested since 2017, it's proven to work and keep working. It has the speed, the ISO dial, the silent shutter, and 24MP files that are comfortable to work with. Another love of my life, the Leica M9 is also shown in this picture, and it is still a lovely camera, but not as much a production machine as the Leica M10.

Leica Q3 43: No Turning Back Now

You'll love every minute of it as your savings account's balance decreases and you eye new, interesting pieces of Leica to own. You will get to a point where $13,500 for a Noctilux lens seems perfectly reasonable, and where the fact that a lens is limited and Black Paint is the only sensible thing to own, despite the premium.

One thing that gets you is the lens quality and the 'Leica Look,' and the Leica Q3 43 will open your eyes to a whole new world of Leica APO lenses, of which there are many. They are expensive, but they are ... oh, so beautiful.

In short, you will change your thinking from where it was about megapixels and features to where it is about doing what you love, with tools that you love.

You will know this so thoroughly that even when the clerk in the big camera store in New York shakes his head while trying to sell you volume for the buck, you know this is what is right for you.

"You are your own imprisoner and your own liberator".

Also, the Leica Q3 43 is the prequel to the Leica M

Yes, it is the gateway drug to the original Leica M models. In that sense, the Leica Q models and the Leica Q3 43 are the prequel to the Leica M, now presented 100 years after the original that changed all photography forever.

A beautiful camera designed to inspire.

One of the original Leica prototypes from before 1925 was sold at auction in 2022. I was there, but it wasn't me who bought it. Instead, I wrote this article about the auction.

Send an email to support@overgaard.com to get your package of test files.

Photographer Thorsten Overgaard tell the story of the ventilated shade and why he designed his own for Leica and other brands.

Free stuff for you

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More to come

A lot more, actually. Sign up for the newsletter to stay in the know. As always, you are welcome to send me an email for any questions, ideas or advice.

/Thorsten Overgaard

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