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Save the date: Film premiere on Sep. 5, 2025
On September 5, we will premiere "Roots to Fly," our film about Indigenous artist Trevor Angus, in Schaffhausen. Save the date now.
We had the privilege of following First Nations artist Trevor Angus and his wife Yvonne with our camera for three weeks. We're now editing the film and invite you to the premiere. Mark the date in your calendar:
Friday, 5 September 2024, approx. 7.30/8.00 pm, at the event location of the Werkstätte Liechtblick, Schaffhausen
Further information will follow on our homepage and via newsletter, which you can subscribe to here .
Trevor concentrating on carving (above) and one of his works of art (below).
We were deeply touched by the warm welcome Trevor, his wife Yvonne, and their families gave us. They immersed us in their lives and the history of their tribe – the Gitxsan. The film is not only about Trevor's art, but also about the fate and challenges of the First Nation on the Pacific Northwest coast.
Trevor, his parents Jim and Doreen and his wife Yvonne
The nerds behind the red dot
A look behind the scenes at the Leica headquarters in Wetzlar
Article in cooperation with fotointern.ch
A little history
Everything at the Leica headquarters in Wetzlar breathes the history of photography: photojournalists have captured decisive moments in history using products from the brand with the red dot. And this year, Leica is celebrating its 100th anniversary. The story, however, began before 1925: In 1914, Oskar Barnack, then head of film camera development at Leitz, developed a "miniature camera." Due to his asthma, the passionate nature photographer was unable to carry around heavy plate and large-format cameras. So he tinkered with a lightweight, compact camera that he could load with perforated 24 mm film. He rotated the film 90 degrees to achieve the 36 x 24 mm format that is still familiar today. To compensate for the much smaller film format compared to large-format cameras, he invested in the quality of the lenses. To this day, the quality of Leica lenses is legendary.
After Oskar Barnack had constructed the original Leica in 1914, the "Leica 1" was introduced in 1925 (Leica press photos)
Ups and downs
Many internal discussions followed as to whether the company should dare to mass-produce this camera and bring it to market. The whole back and forth culminated in a meeting in June 1924 with Ernst Leitz II's legendary statement: "I hereby decide: We'll take the risk." And then, exactly 100 years ago – in 1925 – the first Leica was launched. It revolutionized photography. In one fell swoop, Leica (the word is a combination of Leitz and Camera ) became the technological and market leader in the camera sector. But it wasn't long before Japanese competitors copied the rangefinder camera concept. And in 1936, the first 35mm SLR camera was presented at the Leipzig Spring Fair: the "Kine Exakta" by the Dresden-based company Ihagee. This presented the rangefinder camera concept with serious competition, and sales of this camera design declined rapidly. The SLR camera had several advantages thanks to its design, which allowed the image to be seen through the lens (a kind of WYSIWYG). Leica struggled to enter the SLR world: It wasn't until 1964 that the company introduced the Leicaflex. And then Leica granted Japanese camera manufacturer Minolta access to the autofocus patent, giving it a competitive advantage. Things became even more difficult with the advent of digital photography: Due to the shorter flange focal distance, it was much more challenging to bring the Leica M cameras into the digital age without changing the design and iconic appearance.
Close to bankruptcy
At the beginning of 2000, Leica was facing financial difficulties, and without the courageous intervention of Dr. Andreas Kaufmann, the venerable company would almost certainly no longer exist. He acquired a majority stake and gave the company a drastic overhaul: Within a few years, the company caught up with its technological lag, and thanks to the skillful alliances forged by Dr. Kaufmann, the company, even as a niche player, is able to incorporate cutting-edge technology into its cameras.
Leica has always been undisputed as a lens manufacturer. I think it's no exaggeration to say that Leica is one of the best lens manufacturers in the world—for many, even the best.
The niche player with the market leader image
Without having had or still having insight into the internal processes, I assume that Dr. Kaufmann played a key role in shaping Leica's new strategy: The company flourished, and the Leica name once again became synonymous with top quality and outstanding solutions. The rangefinder camera line - the Leica M - is still the flagship in terms of image, but the fully manually operated camera without autofocus is definitely not for everyone. In my opinion, there would have been a risk that Leica would have remained a marginalized player if they had only relied on the M. But here too, Dr. Kaufmann and his team acted with vision: In addition to various compact and instant film models, Leica has launched three further camera lines over the past few years: The Leica Q - a compact camera with a fixed focal length, extremely simple operation and the highest image quality; The Leica SL – the mirrorless system camera that combines the highest quality, ease of use, and flexibility for the demanding and versatile everyday photographer's life; and the Leica S – the medium format system, which is Leica's flagship in terms of image quality. In terms of production volume, Leica is a niche player, but its name and products command the same esteem among photography enthusiasts as a market leader.
I've been shooting with the Leica SL system since 2015, and have since added the Leica Q and the Leica S. Over the years, I've developed a relationship with Leica's developers, and through regular exchanges, I try to provide useful feedback on their cameras, which can then be incorporated into the development of new camera models. Obviously, I'm just one of many voices, but the seriousness with which Leica takes the feedback from me and other dedicated photographers is both an honor and an obligation.
In September, I was able to take a look behind the scenes of the production facility with a small group at a meeting. Photography is normally prohibited, but I was allowed to take some photos to give you an insight into the world of Leica manufacturing. I shot them with the Leica SL3.
From this point on, photography is normally prohibited. However, I was allowed to take a few pictures to give you an insight into the world of Leica manufacturing.
Start of the factory tour
Everything here exudes history. Large-format prints documenting world events adorn the walls. In the foreground, a picture by Steve McCurry, one of my favorite photographers.
The Nerds
Every person I've met and continue to meet at Leica takes great pride in their work. Above all, the goal is to build a product of the highest quality. Every production step is inspected two or three times. Anything that isn't 100% flawless goes back for adjustment. There's no random sampling in Wetzlar; instead, every camera and lens from production is inspected. At the end, the person who performed the final inspection signs their name, thus guaranteeing a flawless product.
To outsiders, the meticulousness of production and inspection may seem almost pathological, but it's the only way to ensure that every product that leaves the Wetzlar factory meets Leica's standards. These nerds double- and triple-check everything, and I have great respect for that.
A little anecdote: Shortly before my visit to Leica, I bought an SL prime lens. These lenses are inspected by Grit Thümmler, among others, whom you can see in picture 8. We chatted for a while, and I found out that it's quite possible that she checked my lens before it left the factory. It turned out to be one of her colleagues, but the fact that there are real people with a name who perform the final inspection of every product is, at least for me, something that earns the Leica brand some bonus points ;-).
Photo graph
The word "photography" comes from "foto grafare," which translates as "to paint (or draw) with light." A wonderful description of what happens when we press the camera shutter. The lens captures the light, focuses it, and channels it for the film or sensor. This is, of course, a purely physical-optical process, but for me there's always something magical about imagining a large live scene condensed into a 36 x 24 mm field. The lens is one of the most important criteria for image quality and impact. Extensive tests that I conducted together with my friend Christian Habermeier (see "Test the best" ) show that the lens has a greater influence on the impact of the image than, for example, the sensor.
Leica works with over 50 types of glass to build the best possible lenses. To achieve this, the company pushes the boundaries of what is physically possible, sometimes going to an almost insane level of effort. We learned, for example, that some Leica cine lenses take an entire day to grind on a CNC machine just for a single lens—and a lens can easily have ten lenses. Each lens is ground and polished to an accuracy of 0.1 micrometers, or 1/1,000 of a millimeter (!). This precision is a major factor in giving Leica images that highly three-dimensional effect that photography enthusiasts call the "Leica look."
Some of the glass types used are so sensitive to air that they would quickly oxidize after grinding. Therefore, the ground lenses are coated with a protective layer if necessary (see Figure 3), which is then removed shortly before coating. After the coating process, the glass can no longer oxidize. Therefore, in certain cases, coating a lens not only improves image quality but also protects the lens. Figure 4 shows a stack of glass that is coated in the middle and uncoated on the outside. The difference is striking.
The outstanding lens calculations, the extreme manufacturing precision, the high quality of the materials used for both the lenses and the lens bodies, the willingness to push the boundaries of what is possible, and the thorough inspection of each lens are all responsible for the extremely high quality of Leica lenses. Once you've seen and understood this process, you can understand why these lenses carry a rather high price tag.
Individualization
Because Leica is a manufacturer, you can customize your camera if you wish – for example, with an engraving or custom leather trim. How about a custom leather trim in the color "Vamp," for example?
What’s next for Leica?
After our month of testing the Leica SL3-S in September 2024, Christian Habermeier and I personally returned our pre-production cameras to Wetzlar. Together with Urs Tillmanns, founder of fotointern.ch, we took the opportunity to discuss with some key Leica people what the future holds for the company with the red dot. Of course, Leica isn't spilling all the beans, but here are a few summary thoughts from the conversation:
In general, the interplay between hardware and software is something Leica pays great attention to. This means that an image is far from finished once the sensor saves its colored pixels. The processing of the image data and the import of this data to the computer influence the image file. Even a RAW image is already an interpretation of the captured photo. At Leica, we are giving a lot of thought to how this workflow might change in the future and how the familiar Leica look can be recreated in the digital age. Software capabilities (keyword: AI) are becoming increasingly sophisticated and offer more possibilities for combining with the hardware.
But the process always begins with the lens: As the first link in the chain, it plays a crucial role. Leica is constantly optimizing its lens calculations, the materials used, the autofocus technology, the precision of the production process, etc. This is necessary because the lenses have to keep pace with ever-increasing sensor resolutions: After all, what use is a 60 megapixel sensor if the lens has a resolution of "only" 40 megapixels? Furthermore, the demands on the autofocus are becoming ever higher. Only with precise focusing can the high magnification potential of the new sensors be truly exploited. The mirrorless systems give Leica engineers more freedom in lens design: Because with electronic viewfinders we never see a truly optically generated image, but always an image that has already been electronically processed, certain optical corrections can also be made computationally. This allows, for example, lenses with the same performance characteristics to be built more compactly. The Leica M is also a mirrorless system, because a rangefinder camera never directly shows an image produced by the lens.
Further in-camera functionality would also be conceivable. One example is the perspective correction feature introduced by Leica in 2020, which allows you to correct converging lines directly in the camera. The advantage is that I can see immediately how much of the image I'm losing due to the perspective correction. I know that Leica is putting a lot of thought into other very exciting features in this area.
The development of the four lines – Q, M, SL and S – continues
The Q version with the 43 mm lens was recently released, and I speculate that new Q Monochrom models will follow at some point.
For the M, the M11 was presented at the beginning of 2022, followed by the M11 Monochrom a good year later. There's wild speculation online as to whether the M12—whenever it arrives—will feature a hybrid viewfinder. This would make sense, as it could increase the precision of manual focusing for high-end sensors. "No comment" was the response in our meeting.
In the SL line, Leica has updated both SL model series with the SL3-S. The SL3-S in particular demonstrates that Leica is taking the often-addressed problem of autofocus performance seriously and has it under control. The further development of autofocus will continue to be a high priority in the future – whether through firmware upgrades or with more powerful processors and AF technologies when launching new camera models. Furthermore, the SL3-S demonstrates that the Wetzlar company values the topic of "filming with a DSLM" highly. Various software and hardware solutions are under development, but it's still a bit early to talk about them. I think Leica will surprise us positively in this area (as well) in the near future. Whether there will ever be a "pure" film camera in Leica's upper quality segment is a secret. Sony and Canon offer corresponding cameras, and Fuji has also announced a film camera – for the GFX system, no less. It wouldn't be unreasonable for Leica to establish itself in this area, but that's just my personal opinion and speculation.
The Leica S3 is currently no longer in production. From a production perspective, it was clear from the outset that there would only be a limited number of S3 cameras. This limit was already reached in the course of 2023. Leica – including Dr. Kaufmann himself – confirmed that they are working on a successor model. Leica officials have remained largely silent on this matter. Following logic, I will simply state that the camera will be called the S4, that it will be a mirrorless camera with a resolution of approximately 100 megapixels and a massively improved autofocus compared to the S3. High compatibility with the M and SL lens lines would also be desirable. The task for the developers of the next S camera is not easy, because the S3 set the bar very high in terms of image quality. But here too, I trust the brand with the red dot to make the almost impossible possible – always and with all camera lines, with the goal in mind of providing us with great instruments in the future with which we can perfectly capture the light of world events or even the most banal things that are only important to us, on the sensor.
You sometimes read that the images taken with a Leica, even the cameras themselves, have a soul. A look behind the scenes reveals that so much passion goes into every camera and every lens that it could well be true...
Family photo, which also shows the size ratios (from left to right): Leica Q3, Leica M11, Leica SL3-S, Leica S3 (Press photos Leica)
This article also appeared in an abridged version with slightly adapted text on fotointern.ch .
photoSCHWEIZ 25
For the first time, I'm exhibiting at photoSCHWEIZ 25, the Swiss Photography Exhibition. The exhibition is open until February 11. Here are a few impressions.
This year, I'm exhibiting at photoSCHWEIZ for the first time. The exhibition has been very well attended, and the feedback so far has been overwhelmingly positive. I'm participating with images on the theme of "silence," inspired by the book Ursula and I published last year.
The "star image" is an abandoned bus that I photographed in Iceland. You can also purchase this image as a fine art print .
My main picture at the photoSCHWEIZ 25: the abandoned bus from Iceland
My exhibition island in the Garden Hall (G66).
Over the past 20 years, photoSCHWEIZ has established itself as "the" showcase of Swiss photography. This year, the event is taking place at the Zurich Congress Center for the first time. The organizers have made excellent use of the location. Impressions of the halls and my booth (Photos: Michael Brunner / Peter Schäublin):
The photoSCHWEIZ 25 is open until February 11. All information about the Swiss photography exhibition can be found on the official photoSCHWEIZ homepage.
Leica SL3-S – first impressions
The SL2 was followed by the SL3. And logically, the SL2-S must be followed by the SL3-S. The question that always arises: Is the new model really that much better than the old one? I wanted to know...
It arrived in September of last year: the pre-production model of the new Leica SL3-S. And it made the earth shake a little—at least symbolically speaking. But first things first:
A little over a year ago, my friend Christian Habermeier and I tested a pre-production model of the Leica SL3 in Iceland . We were very impressed with the camera: handling, robustness, image quality – all top-notch. The autofocus was also improved compared to the previous SL2 model, but still had room for improvement when it came to very fast subjects. Christian and I were – and still are – so impressed with the camera that we both now use the SL3 for our reportage photography. The autofocus has been further improved with firmware upgrades, leaving little to be desired for photography. But for filming, the AF bar has been raised. And that's exactly where the SL3-S comes in:
Except for the color of the Leica logo, the Leica SL3-S looks identical to the SL3. The entire operating concept is also identical. Learn what the inner workings of these two cameras, which are virtually identical on the outside, are in this article (press photo: Leica).
The SL3-S convinced me in the field test (photo: Marco Huber).
Why two camera models from the same line?
All camera manufacturers bring different models to market for different purposes. Sony has so many that I've honestly lost track. Leica limits itself to two models, and that makes perfect sense: We have the SL3, which, with 60 megapixels, leaves little to be desired in terms of resolution, and the SL3-S with 24 megapixels, whose sensor, thanks to the larger pixels, delivers slightly better results at high ISO and is better suited for filming. But if you want to film with a camera, you also need a powerful autofocus. And—let's be clear right away: Leica has done its homework here. More on that later.
Working with the SL3-S
At Leica, a whole host of experts are racking their brains over how to keep a camera as simple and customizable as possible. This is difficult because cameras are becoming increasingly complex with more and more functions. Simplicity of operation with ever-increasing functionality – that's a contradiction in terms. But the people from Wetzlar have done a really good job: clearly structured menu navigation, individually programmable screen display, strictly separate video and photo menus, now even color-coded, meaningful icons, etc. With three dials and various buttons that I've assigned to my personal taste, I can tailor the camera 100% to my personal needs. The camera feels fantastic; the dials don't wobble at all, nothing is "flimsy," and the viewfinder image is clear and sharp. The body is milled from a single block of magnesium, and the camera is extremely well sealed against moisture and dust.
In October 2024, Leica gave us a glimpse behind the scenes. This image shows the production stages of the aluminum back cover for the first-generation Leica SL. The latest SL generation (SL3 and SL3-S) features a die-cast magnesium back cover. The advantages of magnesium include significantly lower weight and the ability to cast more complex shapes. Leica is also continuously developing its cameras in the area of materials.
Constance
Whenever I receive a test camera, it naturally comes without an instruction manual. So I have to figure it out myself. Leica has been striving for some time to make the user interface identical for all camera lines – Q, M, and SL. The further development of this interface is carried out with great care and a sense of proportion, so that you can immediately find your way around when switching from one camera line to another, or from an older to a newer model. Therefore, I didn't need any warm-up time with the SL3-S. Turn the camera on and off you go.
Innovation
A lot has changed inside the camera, though. While the sensor still has 24 megapixels, like the SL2-S, it's a newer model. And—truly the most striking and most important thing: The SL3-S's autofocus performs significantly better. It's now at the level I've always wanted for a camera of this kind. Because I don't think much of lab tests, I ask Andrina Trachsel, former Swiss ultracycling champion, if I can accompany her on her triathlon training with the SL3-S—it's hard to find a better and more attractive testing opportunity ;-).
6:30 a.m.: Start of the training day. Andrina begins the warmup, while my assistant Chiara and I prepare the equipment. (Photo: Marco Huber)
Andrina in training
The day is just dawning, the temperature is still on the cool side, and it's drizzling lightly. But Andrina is tough; the weather conditions are no problem for her. It's good to know that the SL3-S is just as capable in this regard. The rainy mood creates a very special ambiance, and right at the beginning, I take a photo that is my favorite of the entire series:
Leica SL3-S, 1/80 sec., f/2, 250 ISO, Apo-Summicron SL 35 mm f/2.0. Image editing in Lightroom
I held the camera just above the water's surface, which is possible because the Q and SL cameras now also have a foldable screen. The APO-Summicron SL 2.0/35mm draws brilliantly, and the difference between the area in and out of focus is striking. It's worth mentioning in passing: Despite their compactness, the 2.0 APO prime lenses are incredible powerhouses. Of course, they're not as small as the M lenses, but that's due to the fact that they're autofocus lenses.
Mounting an SL lens from the APO prime lens series (it's the 75mm). It's easy to see how complex it looks inside. And although the lens is relatively compact, it still has plenty of room for improvement in terms of resolution. Even at 60 megapixels, it's not yet at its performance limit.
The advantage of the 24-megapixel sensor is that it exhibits lower image noise. Even at 10,000 ISO, the results are still impressive.
Leica SL3-S, 1/500 sec., f/2, 10,000 ISO, Apo-Summicron SL 35 mm f/2.0 – I could have shot this image with a longer shutter speed, of course, but I deliberately wanted to achieve a high ISO value. Image editing in Lightroom (no noise reduction).
The AF endurance test
Meanwhile, it's gotten a bit brighter. Boat captain Toni has arrived. He steers his boat with great sensitivity, allowing me to perfectly photograph and film Andrina swimming in the water. I set the autofocus to face priority and AF-C, and I'm amazed at how accurately the autofocus works, even when only Andrina's swim cap is visible. Here's an example:
41 frames in 2.2 seconds: Despite challenging AF conditions, the SL3-S's autofocus performs flawlessly. It's exactly what I wanted. And here's another sequence from my cycling training:
The film functions
Leica introduced a new feature with the SL3 that initially confused me a bit, but which I now wouldn't want to be without: I can create different film profiles and then switch between them in a flash in the menu. For example, I can create a 6K profile with 30 fps, a 4K profile with 60 fps, a Full HD profile with 120 fps (small downside: 120 fps with 4K unfortunately doesn't work), and so on. Of course, I can also assign different codecs to the profiles. I can switch between these profiles in a flash while filming. A small request for Leica: Currently, the profiles are simply numbered, but it would of course be great if you could assign individual names to the profiles, e.g. "Interview", "Sports", "Slow Motion" or something similar.
BTS: While Andrina crawls gracefully, I hang over the side of the boat to film her. For better control of the frame, I mounted my Atomos Ninja as a control monitor. However, I recorded all clips in-camera to the CF Express B card (Photo: Marco Huber)
The short test film
For my short movie, I film practically everything at 59.94 fps / L-Log / 4:2:2 / 600 Mbps. A standard SD card can't handle that; you need a CF Express B card for that. Like the SL3, the SL3-S has one slot for standard SD cards and one for CF Express B cards. I think that makes sense, because you can continue using your SD cards, but you have the option of using CF Express B cards for demanding filming.
I filmed a sequence in FHD at 120 fps and then upscaled it to 4K using Topaz Video AI. When watching the film, you'll notice that this sequence doesn't fall short of the sequences filmed in "real" 4K. AI-assisted interpolation also opens up new possibilities in the film industry.
During the shoot, I deliberately switched between film and photo sequences. You can see this transition in the film. I also included an example of the editing potential with a transition from the unedited RAW file to the final edited image. The music was provided by my brilliant friendSebastian Bachcomposed.
Dynamic range of the sensor
To test the sensor's dynamic range, I meet up with Andrina again a few days after the shoot. On this second morning, there's no rain in sight, and a beautiful sunrise rewards us for getting up early. I want to photograph Andrina in full backlight. The crucial question in such a situation is always: with flash or without flash, and then brighten it up in post-production? Judge for yourself:
With flash:
With flash: Leica SL3-S, 1/2000 sec., f/3.5, 125 ISO, Apo-Summicron SL 35 mm f/2.0, Profoto A2 with grid, high-speed sync. Image editing in Lightroom.
Without flash
Here's the unedited RAW file without flash. I exposed it so that even in the sunlight, I still have detail:
Leica SL3-S, 1/2000 sec., f/3.5, 125 ISO, Apo-Summicron SL 35 mm f/2.0, no flash
And the result after editing in Lightroom:
In Lightroom, I brightened Andrina's face by 3.5 f-stops, and her face by 4.25 f-stops. The sensor allows for this. Of course, the noise is somewhat noticeable in the brightened areas. This can be corrected with software, but you lose some detail: Here's a 100% crop with and without denoise:
without denoise
with Denoise
Farbmanagement
You can correct colors in post-production. But it's much more fun when the camera delivers accurate colors. This is especially important for skin tones. Here's an example of an image straight from the camera, without any editing:
Leica SL3-S, 1/400 sec., f/4, 100 ISO, Apo-Vario-Elmarit SL 2.8-4.0/90-280mm at 111 mm, white balance "cloudy", completely unprocessed, slightly cropped
How many megapixels does a person need?
Finally, a word about the megapixel rush, which continues unabated: Currently, we're in the 50 to 60 megapixel range for top full-format models. But how many megapixels do you really need? A little math: Inkjet printers operate at a resolution of 200 to 300 dpi. Don't be confused by the high DPI numbers that printer manufacturers sometimes specify. They sometimes calculate the resolution for each color channel. But for our calculations, we'll use the resolution displayed by Photoshop (or any other image editing software). In my experience, 250 dpi is sufficient for optimal results. 250 dpi is 250 pixels per inch. And since one inch equals 2.54 centimeters, the resolution for an optimal print is almost exactly 100 pixels per centimeter. This makes the math easy: Divide the pixels of your image by 100, and you get the print size you can print without any loss of quality. With a 24-megapixel sensor, that's 6000 x 4000 px = the maximum print size for an optimal print of 60 x 40 cm. That's sufficient in most cases. But I wanted to print larger. After some tests with interpolation programs, I came to the conclusion that I achieve the best results with Topaz Photo AI, and I can double the number of pixels both lengthwise and widthwise without any noticeable loss of quality. This means: I can interpolate a 6000 x 4000 px image to 12000 x 8000 px. This requires a high-quality source file: I shoot in RAW, carefully edit the image, and then export it as a 16-bit TIF for Topaz. There, I upscale the image from 24 to 96 megapixels. With this processing, I can print up to 120 x 80 cm – or crop some and still print quite large. Of course, with a high-resolution sensor, you have even more flexibility, but you have to accept more image noise at high ISO ranges and less good film results. Additionally, there's a noticeably higher memory requirement on the computer.
Larger printing is possible: Here's my 120 × 80 cm print, starting with the 24-megapixel file. Of course, you'd have to see the original print, I'm aware of that.
Conclusion
Leica has done its homework. The SL3-S combines typical Leica features with a very powerful autofocus. For reportage work where I have to photograph in low light and also want to occasionally film, the SL3-S is the ideal camera for me. If you need the higher resolution, the SL3 is the right choice.
You have to decide for yourself what your priorities are and whether you need more than 24 megapixels. If in doubt, and if your budget allows, simply buy both cameras. That way, as we Swiss say, you'll have "dä Füfer und s'Weggli" (and an empty bank account ;-)).
And a few more photos from the training day
Click on the images for a larger view. Hovering your mouse over the image will display the recording data.
We are exhibiting at photoSCHWEIZ 25
We're participating in the Swiss Photography Exhibition for the first time—come by and check out the exhibition. It's worth it.
The annual photoSCHWEIZ is the major exhibition of photography in Switzerland. In 2025, it will take place for the first time at the Zurich Congress Centre, from
Fri. 7 to Tue. 11 February 2025.
We'll be exhibiting paintings on the theme of "silence," and I'd love for you to visit the exhibition. I'm currently planning to be there on Saturday, February 8th. Let me know when you're coming so we don't miss each other. Just send me a quick email or WhatsApp me at 079 445 62 32.
Information and opening hours
You can find all information about the photoSCHWEIZ 25 on the photoSCHWEIZ homepage.
