This pro-grade camera app brings Leica looks to your iPhone
Leica Lux app gives you one lens for free - but you'll have to pay for the rest
The latest iPhone generation is already among the best smartphones for photography – but now Leica wants to turn things up a notch by mimicking its signature look through software. The new Leica Lux app lets you virtually swap between a bunch of classic Leica M lenses, and use the firm’s colour science instead of Apple’s for more distinctive snaps.
The freemium app, which is available to download from the Apple App Store (UK link) now, includes an Automatic mode that gives photos the Leica Standard look – think more natural colours than the stock iPhone camera app – or you can pick from a handful of analogue film presets including Leica Classic, Leica Contemporary and Leica Black-and White.
Aperture mode then kicks things up a gear, letting you give your images the signature look of some of Leica’s classic lenses, such as the Summilux-M 28 mm f/1.4 ASPH and the Noctilux-M 50 mm f/1.2 ASPH. Some clever computer-aided photography does the bokeh effect digitally, promising dreamy depth blur with all the effort of a point-and-shoot.
A manual mode then lets more experienced snappers tweak exposure compensation, shutter speed and ISO on the fly.
Leica Lux can also act as a photo library, keeping all your snaps in one place and showing EXIF info – including which virtual lens and look were used, as well as the shot’s location – with a swipe. If Apple’s Photos app is a bit pared back for your liking, this might be a better way to keep your snaps sorted.
The app gives everyone access to the Leica Summilux- M 28 mm f/1.4 ASPH lens profile, and both automatic and aperture shooting modes. A free Leica lens you can squeeze into your pocket sounds ace – but you’ll need to get your credit card out for manual controls, histogram and focus peaking, the rest of the Leica looks, and the other lenses.
A Leica Lux Pro subscription will cost £7 a month, with extra functionality promised later down the line.
Tom Morgan-Freelander
Deputy Editor 
