A dedicated monochrome camera changes how you see a scene before you even lift it to your eye. When you commit to black and white only, every choice about light, texture, and timing becomes more deliberate.

Coming to you from Bobby Tonelli, this thoughtful video walks through how the Leica Q3 Monochrom Digital Camera becomes more than a regular Leica Q3 with its color filter stripped away. Tonelli starts with the design, pointing out the matte black finish, white and gray markings, and completely blank front with no red dot, which makes the camera far less noticeable on the street. The leather wrap and compact shape give it the familiar Q feel, even if you might still want an extra grip for long days. Inside, the 60-megapixel monochrome sensor paired with the fixed 28mm f/1.7 Summilux lens gives you files that look muted at first, with low contrast and gentle tonality right out of the camera. That flatter starting point is intentional so you can push the files hard in Lightroom without the image falling apart.

Tonelli compares the look to shooting medium format, especially in the way skin tones render and how the camera holds detail in shadows and highlights. Instead of relying on a black and white simulation like you might on a color body, you are working with true monochrome data that reacts differently when you crush the blacks or build a high key look. He shows how you can go from soft gray, low-contrast frames to stark, graphic images while keeping fine textures intact in hair, fabric, and skin. The comparison to earlier Leica monochrome models, like the Q2 Monochrom, makes it clear this version feels more complete and forgiving when you start editing. You see how the camera invites you to experiment rather than locking you into a baked-in house look.

Autofocus is one of the more controversial parts of the story. The Q3 Monochrom does not keep the phase detect autofocus system that arrived with the standard Q3, and instead runs entirely on contrast detect. Tonelli explains that removing the color filter layer from the sensor takes the phase detect points with it, so Leica had to lean on a refined contrast system rather than a hybrid one. On paper, that sounds like a big step backward, but in practice, he finds it quicker and more reliable than expected while walking the streets in Singapore, grabbing people mid stride and small moments without constant hunting. You see the limits too, especially if you are thinking about fast action or demanding video work, which is where bodies like the SL3 still make more sense.

ISO performance is where the camera starts to look almost unreal. Tonelli talks about the dual base behavior and then jumps straight to high values like ISO 50,000 and 200,000 to show what happens in real scenes. At 50,000, the grain looks more like what you are used to seeing in the mid range on many color systems, with surprising detail in fine lines and surfaces. At 200,000, dynamic range tightens but you can still read text on watch dials and see patterns in metal and dial textures, especially with a light touch of noise reduction. It feels closer to fast film than the mushy, colorful noise you may associate with extreme ISO numbers on a color sensor.

Key Specs

60.3 megapixel effective full frame CMOS monochrome sensor

Fixed 28mm f/1.7 lens with optical stabilization and dedicated macro setting

ISO range from 100 to 200,000 for stills and video

Contrast-detect autofocus system with subject detection, no phase detect points

Continuous shooting up to 15 fps at full resolution

Internal recording options including H.264 and H.265, with 4K and 8K frame rates listed and 10-bit choices in MOV and MP4

Single SD/SDHC/SDXC UHS II card slot

Tilting 3″ touchscreen LCD and high resolution OLED electronic viewfinder

Wi-Fi and Bluetooth connectivity with Leica FOTOS app support

BP-SCL6 battery rated for about 302 shots, housed in a compact body around 1.6 lb with battery installed

Beyond specs, Tonelli spends time on how the camera actually fits into a working kit. He is honest about not being a natural 28mm shooter, often cropping his Q3 images and wishing Leica had launched a 43mm variant alongside this model so you could choose a field of view that matches how you see. That tension forces you to think about whether you are comfortable committing to a wider perspective and using the in camera crops, or whether you will constantly fight the framing. He also calls out the niche nature of a black and white only camera, pointing out that this is not the body you bring when you have one shot at a color dependent commercial job. Instead, it is the camera you pick when you want a focused tool that pushes you toward a specific way of seeing.

Tonelli also touches on firmware and features without turning the video into a complaint session. The touch-friendly menu feels more modern and lines up with Leica’s recent bodies, which makes quick changes easier when you are in the middle of a scene. At the same time, he notes that some smart features, including subject detection options, still feel like they are catching up to the rest of the market given the premium price of the Q system. That tension between classic shooting experience and modern expectations becomes part of the decision you need to make before committing to a dedicated monochrome compact. Check out the video above for the full rundown from Tonelli.