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Reader Comment: “best lenses for the Fujifilm GFX system... track the price... tilt/shift lenses”

re: Fujifilm GF 30mm f/5.6 TS
re: Fujifilm GF 110mm f/5.6 TS
re: Fujifilm GF 30mm f/5.6 TS and Fujifilm GF 110mm f/5.6 TS: How Useful are the Tilt/Shift Functions?
re: Fujifilm Locks Down Medium Format with Fujifilm GFX100 II, Fujifilm GF 30/5.6 TS, Fujifilm GF 110/5.6 TS

I had both of these lenses on loaner request for review since they were announced last fall. First they were delayed, then they are never in stock not even once. I definitely will be reviewing them but when I don’t know. And they are apparently best used on the Fujifilm GFX100 II, something to do with the sensor design.

CLICK TO VIEW: Fujifilm Medium Format: Top Picks

Reader Roy P writes:

If you want to know which are the best lenses for the Fujifilm GFX system, all you have to do is to track the prices of GF lenses on B&H Photo. Over the course of a year, you will see most of the GF lenses offered at $400-500 discounts. I have been seeing this behavior for the last four or five years.

But there is a small handful of lenses that have never been offered at a discount, and these are the Fujifilm GF 20-35/4, Fujifilm GF 55/1.7 and the Fujifilm GF 250/4, along with its 1.4x extender. I think Fujifilm knows which of its lenses are the stellar performers vs. the ones that are the “cover-your-nose-with-one-hand-and-sell-these-with-your-other-hand” variety. The only exception to this is the Fujifilm GF 35-70mm f/3.5-5.6 zoom which, as you know, is a star lens that punches way over its weight class, and this can be had for $500 (what I paid for mine).

That is a long preamble to say I don’t think the two Fujifilm tilt / shift lenses (30 F5.6 and 110 F5.6 Macro) are likely to go on a sale anytime in the near future, maybe not for another 5+ years. Based on the specs, interviews by the Fujifilm design engineers and a small handful of reviews, these lenses seem to be exceptional. These two could possibly be the best T/S lenses designed for any camera system (excluding technical cameras), at least in my experience. I have owned and used all three T/S lenses from Nikon for its F mount DSLRs, both T/S lenses from Canon for the EF mount DSLRs, and Schneider-Kreuznach 120 f/5.6 APO Digitar for Phase One.

The Schneider 120 T/S is a superb lens, every bit as good as the Schneider 120 F4 Macro lens for the Phase One XF. This T/S is in a class by itself and the the 35mm T/S lenses don’t even begin to compare. The Fujifilm T/S lenses may be in this class optically, maybe even better. They are certainly a lot more capable than the Schneider in terms of usability.

They’re certainly not cheap, but considering the size of the image circle they have to draw and also all the functionality built into them (e.g., T/S at 45° angle, maybe even any angle? TBD) and what appears to be top-notch mechanical design, they are more than fairly priced, I think. They are priced about $1500+ less than the $5000 price tag the Schneider used to have (it’s discontinued now).
[DIGLLOYD: for landscape, just 0.5° to 1.5° of tilt is all that is typically needed]

These could be the ultimate lenses for landscapes, product, architecture and interior photography for anything below a Phase One XT + Rodenstock lenses. I also think these lenses put Fujifilm way above Hasselblad, notwithstanding the better cosmetics and finish of the Hassleblad system and the slightly better colors the X2D is supposed to deliver.

I have my eyes set on these two Fujifilm lenses and at some point, if I can finance them, I’d like to get one or both of them.

Suggest getting hold of these T/S lenses for a review. I think it will be worth your time. Maybe even contact Fujifilm to get loaners, since B&H has never had these in stock.

DIGLLOYD: yes, the Fujifilm GF tilt/shift lenses should be awesome.

Focus stacking remains a hard requirement for high-quality work for the vast majority of situations. The manual focus tilt/shift lenses cannot use Focus BKT.

Optical tilt has limited uses, but when it can be used it is terrific. It can be useful for landscape, but in my experience it usually cannot be used due to the lack of any consistent plane of focus for a 3D scene eg something in the scene projects out of the main plane, and will be badly blurred by using tilt. There are of course exceptions, such as scenes like a desert playa.

Optical shift also has limited but terrific uses. Correcting perspective (eg converging verticals) is one such use, but parallax-free stitching intrigues me more. But the DoF problem remains and that makes such uses extremely limited except for distance scenes and similar.

Will the New Sigma FE 50/1.2 DG DN Art Outperform the Leica 50/1.4 Summilux-SL ASPH and Sony 50/1.2 GM?

Sigma FE 50mm f/1.2 DG DN Art
for Sony FE or L-Mount

I was extremely impressed with the Sigma FE 35mm f/1.2 DG DN Art when I tested it, and still wish I had bought the sample I tested. Now along comes its 50mm sibling, and considerably smaller and lighter too.

The about $1399 Sigma 50mm f/1.2 DG DN Art is an all-new high-speed and high-performance mirrorless lens design for Sony mirrorless and Leica/Panasonic L-Mount.

  • Sony FE and Leica/Panasonic L-Mount
  • Full-Frame Format
  • f/1.2 to f/16
  • Fast, Wide-Aperture Lens
  • High-Response Linear Actuator AF System
  • 4 Aspherical Lens Elements
  • Rounded 13-Blade Diaphragm
  • De-Clickable Aperture Ring
  • Super Multilayer Coating
  • Dust- and Splash-Resistant Construction

The aggressively low pricing of $1399 is the big surprise. Little things like the best lens case in the industry (by far) add up to HUGE value vs the competition.

UPDATE: I looked at some test shots with the 50/1.2 and they are impressive.

About $1399 Sigma 50mm f/1.2 DG DN Art...

Bokeh

The use of 17 lens elements suggests a very high degree of optical correction.

The “suppression of double-line bokeh” is one of the most interesting claims I have seen in a while for lens design—first ever? It is quite ugly on lenses like the Leica 50mm f/2 APO-Summicron-SL ASPH and many other highly corrected lenses—though remarkably, coin-operated reviews can never seem to detect any.

Distortion

The 17 lens elements suggests a high level of optical correction that might even include relatively low optical distortion.

Given the total lack of any discussion of distortion in the Sigma description, I was concerned that it its unmentioned flaw might be distortion and distortion correction. But the EXIF on the Sony A7R V does not flag distortion as requiring correction, and the test shots I see look superb.

Sigma FE 50mm f/1.2 DG DN Art
Adobe Camera Raw Lens Corrections

 

VS Sony and Leica

Can Sigma deliver as good or better quality as Sony and Leica for a fraction of the price?

The 17 elements vs 14 for the Sony 50/1.2 GM suggests high imaging potential. But the Sony lens has a very large extreme aspherical (XA) lens element (eg expensive). Can the additional 3 elements (4 aspherical) get the job done vs Sony’s 3 aspherical elements?

Sony FE 50mm f/1.2 GM

It should prove to be a worthy competitor to the Sony FE 50mm f/1.2 GM. My guess is that the Sony will have better behavior in that the Sony is almost free of focus shift.

Leica 50mm f/1.4 Summilux-SL ASPH

The Leica 50mm f/1.4 Summilux-SL ASPH is IMO a marginal overpriced lens.

My prediction is that the Sigma 50/1.2 DG DN on the Leica SL3 might provide superior performance to the Leica 50mm f/1.4 Summilux-SL ASPH eg higher sharpness, less focus shift , less field curvature , superioc correction for secondary color, half a stop more lens speed, and more pleasing images to boot. At 1/5 the price of the Summilux, Leica SL3/Leica SL2 shooters can afford to experiment.

Optical design for Sigma FE 50mm f/1.2 DG DN Art
Computed (not measured) MTF at f/1.2 @ 10,30 lp/mm for Sigma FE 50mm f/1.2 DG DN Art

Specifications

The 17 lens elements suggests a high level of optical correction that might even include relatively low optical distortion.

Given the total lack of any discussion of distortion in the Sigma description, I was concerned that it might be its unmentioned flaw requiring distortion correction. But the EXIF on the Sony A7R V does not flag it as requiring correction, and the test shots I see look superb.

Sigma 50mm f/1.2 DG DN Art
Focal length: 50mm
Aperture range: f/1.2 - f/16
Iris blades: 13 blades, rounded
Focusing range: 15.8 in = 40 cm
Reproduction ratio: 1:6.2
Angle of view: 46.8°
Number of elements/groups: 17 elements in 12 groups
4 aspherical
Filter thread: 72mm
Weight, nominal: 26.3 oz = 745g
Dimensions: 3.2 X 4.4 in = 81.0 X 110.8 mm
Includes: CASE
LENS HOOD LH782-03
FRONT CAP LCF-72mm III
REAR CAP LCR II
Price: about $1399

Manufacturer’s description

Sigma FE 50mm f/1.2 DG DN Art

Unveiling another SIGMA Art line F1.2 lens. Elevating photographic mastery beyond conventional limits.

The lightest in its class* ― Bright F1.2 maximum aperture and the highest level of descriptive power from SIGMA’s Art line

SIGMA's Art line has been offering new possibilities and surprise for expression, and now the SIGMA 50mm F1.2 DG DN | Art is here to break the standards.

SIGMA's focus with this lens is on the descriptive power that is perfectly usable from the widest aperture, and on portability that allows the high performance to be demonstrated in any field.

In terms of image rendition, SIGMA achieved high resolving power from the maximum aperture throughout the entire focus range, while also enriching the beauty of the large bokeh effect at F1.2.

In addition, the lens construction and mechanical design have been stripped down to the bare essentials, resulting in a significantly compact and lightweight body. The lens is also equipped with a full range of functions suitable for professional use, including high-precision AF using the latest HLA (High-response Linear Actuator) that reduces volume while maintaining the same thrust. We hope users will enjoy the superb Art F1.2, which will transform everything they capture and even their photographic experience into something extra special.

The SIGMA 50mm F1.2 DG DN | Art has been designed with an emphasis on high resolution from the maximum aperture to the full focus range and large, beautiful bokeh expression. The contrast between the sharpness of the focus surface and the melting bokeh effect creates a three-dimensional effect thanks to its F1.2 aperture. In addition, the 13-blade diaphragm allows for beautiful bokeh expressions. Focus breathing is also well-suppressed that the F1.2 rendering can be fully utilized in video recording.

Brightness of F1.2 maximum aperture and high resolution from minimum to infinity focus

The latest optical design achieves high resolving power with each aberration thoroughly suppressed from the maximum aperture. The lens is capable of rendering details without color bleeding in any situation. In addition, the incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.

Rich and beautiful bokeh without color bleeding

By correcting spherical aberration, sagittal coma flare, axial chromatic aberration, and other aberrations, the lens delivers natural bokeh images that blur smoothly and without color bleeding from the focal plane. Double-line bokeh is also suppressed, allowing users to take advantage of the mellow bokeh effect in their expression.

Rounded diaphragm with 13 blades

The lens incorporates SIGMA's first 13-blade diaphragm, which maintains a circular shape even when stopped down from the maximum aperture. The surface accuracy of the aspherical lens has been enhanced to the utmost to enable smooth and beautiful round bokeh expressions.

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

Lightest weight lens body in its class*, suitable for a wide range of applications

By uncompromisingly pursuing high optical performance and portability, which are inherently contradictory, the highest level of performance has been condensed into the lightest lens body in its class. The SIGMA 50mm F1.2 DG DN | Art can be used not only in limited situations and applications, but in all kinds of shooting environments.
* As an AF 50mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of March 2024 by SIGMA)

A new system was developed that significantly reduces the volume while maintaining the same thrust of the HLA, which is characterized by its high driving accuracy and quietness, and is featured in each of the two focus groups. This technological innovation has realized both high-speed autofocus and a compact lens body.

A new system was developed that significantly reduces the volume while maintaining the same thrust of the HLA, which is characterized by its high driving accuracy and quietness, and is featured in each of the two focus groups. This technological innovation has realized both high-speed autofocus and a compact lens body.

Each piece of glass is made as thin as possible while employing glasses with a high refractive index and four aspherical lenses. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing these thin glass elements and making this mass production possible. In addition, the floating focus construction ensures high performance while shortening the overall length, resulting in a compact lens. In the mechanical design phase, emphasis was placed on weight reduction. Through the systematic elimination of individual components, SIGMA attained the distinction of producing the lightest lens in its class, weighing a mere 745g / 26.3oz.*
* These figures are for L-Mount.

A wealth of functions for professional use and excellent build quality

In addition to various functions that support photography, such as the AFL button* and an aperture ring, the construction of the lens body itself and its high-quality touch and feel are also pursued. The SIGMA 50mm F1.2 DG DN | Art is designed with high functionality and reliability to meet the stringent demands of professionals, as well as excellent build quality for long-lasting, reliable use.

Proud to be a tool of expression, excellent build quality with SIGMA’s Art line specifications

By assembling high-precision parts made of lightweight and strong TSC* and other materials, the lens has the high level of rigidity and durability of SIGMA’s Art line specifications without sacrificing portability, as well as excellent build quality that allows for long-lasting and reliable use as a photographic tool.
* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

Various shooting assist functions

The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust and splash resistant structure* and water and oil repellent coating

In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.
* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Including a petal-type hood with lock

A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.

  • Inner focus system
  • HLA (High-response Linear Actuator)
  • Compatible with Lens Aberration Correction
  • Super Multi-Layer Coating
  • Water and oil repellent coating
  • Aperture ring
  • Aperture ring click switch
  • Aperture ring lock switch
  • AFL button
  • Linear focus / Non-linear focus (for L-Mount only)
  • Focus Mode Switch
  • Dust and Splash Resistant Structure
  • Hood with lock

  • Compatible with high-speed autofocus
  • Supports DMF and AF+MF
  • Compatible with AF assist (for Sony E-mount only)
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Every single lens undergoes SIGMA’s proprietary MTF measuring system
  • 13-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • Mount Conversion Service available
  • “Made in Aizu, Japan“ craftsmanship
Sigma FE 50mm f/1.2 DG DN Art for Sony FE or L-Mount

Roy P writes:

Surprisingly, this lens for Sony is marginally lighter than the Sony 50 f/1.2 GM. I would have expected the Sigma to be much heavier. Optically, Sigma has had the advantage of seeing what the Sony lens can do, so I expect the Sigma to be close to Sony. Better? Probably not, but probably not inferior either

I do expect the L mount version to clobber the Leica 50/1.4 Summilux-SL in every possible way – sharpness wide open, OOF blur, speed of autofocusing, tracking, construction quality and price, of course.

DIGLLOYD: yep. A lot will depend on per-sample build quality. With the Sigma FE 35mm f/1.2 DG DN Art, I had one sample that was soft at f/1.2, and a replacement that was superb.

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Reader Comment: “Your Leica M11M review has been invaluable for me”

Reader and subscriber Andrew B writes:

Your Leica M11M review has been invaluable for me.  Not least, the Sony / Fujifilm comparison.  As you might have gathered from my previous e-mail, I was far from convinced by the Leica monochrome proposition — particularly because of the greater flexibility offered by colour to B&W conversion — so your conclusions have really helped crystallise what I was thinking.  

The Hasselblad X2D is an intriguing suggestion (in more irrational moments, I could also be tempted by the 907X + CFV 100C + tripod) but, at least for now, while the time I have for photography is somewhat limited, I should be satisfied with my Sony + Voigtlander APO lenses (which I find hugely impressive).  And I can always use B&W film when I feel like it!

DIGLLOYD: RGB capture for monochrome conversion is a great way to go.

Leica M11 Monochrom

Sony’s New 19200 X 12800 = 247-Megapixel Sensor IMX811-AAQR Implies 108 Megapixels for 35mm Format

As per the specs found at sony-semicon.com, there are both color and monochrome sensors.

However, this technology at present has an aspect ratio of 3:2, at odds with the 4:3 aspect ratio of Phase One, Hasselblad and Fujfilm medium format which all use 4:3 sensor.

Diagonal 64.84 mm (Type 4. 1) CMOS Image Sensor with Square Pixel IMX811-AAQR and IMX811-AAMR

The IMX811-AAMR is a diagonal 64.84 mm (Type 4. 1) CMOS active pixel type image sensor with a square pixel array and 247.04 M effective pixels. This sensor incorporates maximum 24 dB PGA circuit and 16-bit A/D converter.

16-bit digital output makes it possible to readout the signals of 247.04 M effective pixels at high-speed of 5.3 frame/s in all-pixel readout mode.

Doing the math, its 2.81 micron photosites imply that a 4:3 sensor having the same size sensor as a Fujifilm GFX100 II or Hasselblad X2D would be ~182 megapixels, up from the current ~102 megapixels.

Similarly, it implies up to 108 megapixels in a 35mm-format sensor.

It could be a while before this tech appears in a suitable sensor for cameras, since there isn’t even a suitable sensor yet. But the fact that this technology can do 247 megapixels with 2.81 micron photosites with 5 fps readout suggests a bright future for both 35mm and medum format cameras.

Focusing fun: lenses with focus shift and field curvature are already a huge PITA on sensors with 3.76 micron pixels (think Leica APO-Summicron-SL lenses and many others), but dropping that to 2.81 microns is going to put a premium on cameras not doing the stupid shit they are doing today with focusing.

Sony IMX811-AAQR specifications

Leica 50mm f/2 APO-Summicron-SL ASPH Aperture Series: Riparian Creek (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

This f/2 - f/11 series shows-off the high resolving power of the 60MP Leica SL3 sensor while detailing the optical behavior of the Leica 50mm f/2 APO-Summicron-SL ASPH.

In diglloyd Mirrorless /diglloyd L-Mount, this pair of aperture series each confirms the other.

Leica 50mm f/2 APO-Summicron-SL ASPH Aperture Series: Riparian Creek

Includes images up to full camera resolution, plus crops.

CLICK TO VIEW: Leica SL System

f2.8 @ 1/25 sec electronic shutter, ISO 100; 2024-03-21 18:20:30
LEICA SL3 + Leica 50mm f/2 APO-Summicron-SL ASPH
ENV: Alpine Creek, altitude 550 ft / 168 m, 60°F / 15°C
RAW: Enhance Details, WB 5400°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Riparian Creek (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

his aperture series evaluates the Leica 35mm f/2 APO-Summicron-SL ASPH from f/2 to f/11 on the 60-megapixel Leica SL3 using a subject having widely differing distances.

This “deep 3D” subject thus sidesteps the problematic focus shift issues of Landslide Hillside and Bend in Alpine Creek, allowing us to see just how good the 35/2 APO-SL is—world class. However, the same focus shift issue is also demonstrated, for a 3rd (anti) performance proof.

In diglloyd Mirrorless /diglloyd L-Mount, this pair of aperture series each confirms the other.

Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Riparian Creek

Includes images up to full camera resolution, plus crops.

CLICK TO VIEW: Leica SL System

f4 @ 1/13 sec electronic shutter, ISO 100; 2024-03-21 18:16:53
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
ENV: Alpine Creek, 60°F / 15°C
RAW: Enhance Details, WB 5200°K tint 21, pull 0.33 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]
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Leica’s Dumbed-Down Lens Documentation: Distortion and Distortion Correction Absent

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

re: Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside and Bend in Alpine Creek (Leica SL3)

I have now published detailed evaluations with all five of the Leica APO-Summicron-SL lenses.

Leica 21mm f/2 Summicron-SL ASPH

I suspect that Leica 21/2 APO-Summicron-SL ASPH will have severe distortion, perhaps as much or more as the fun-house-mirror distortion of the 28/2 APO not to mention the absurd distortion of the 35/2. I also hope to be mistaken.

If so, the distortion will be hidden by the camera (real time correction), not mentioned in the technical documentation, flagged as a required correction in the EXIF, etc.

The existence of severe distortion is bad enough, but to hide it from customers is far worse.

Leica will surely publish its usual technical note showing MTF without regard to the required distortion correction, which degrades MTF for fine details. IMO, that is worse than misleading and dishonest.

  • Leica no longer publishes distortion charts for lenses, or at least not for Leica SL lenses.
  • Leica technical documents for lenses omit all discussion of distortion and distortion correction and how it affects MTF.
  • AFAIK, Leica publishes theoretical computed MTF, not MTF measured with real lenses.
  • Leica fantasy MTF charts do not reflect the losses in high-frequency MTF from distortion correction.

LEICA: please advise if I am incorrect on ANY of these points.

Consider that: a technical graph showing what cannot be with real pictures as any user could/would use it.

Specifically, when distortion correction is flagged by the camera as required and the camera always corrects it, and raw converters enforce it as well, there is a term for that, and it starts with "fr". Oh, and the graph is computed, not measured with real lens.

What I ask of Leica and all lens manufacturers: be honest about your optical design. Publish distortion charts, and publish MTF with and without distortion correction. Say explicitly whether distortion correction is required. Pretty simple. That’s what an honest company would do.

Below, Iridient Developer is one of the rare raw converters that allows disabling required EXIF flags eg distortion correction.

Without distortion correction
f8 @ 1/100 sec, ISO 100; 2024-03-20 13:23:53
LEICA SL3 + Leica 35mm f/2 Summicron-SL ASPH

[low-res image for bot]
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Reader Comment: “there’s only one thing Leica is about: how to make a lens as sharp... at the widest aperture of a lens”

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

re: Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside and Bend in Alpine Creek (Leica SL3)

Leica 21mm f/2 Summicron-SL ASPH

I have now published detailed evaluations with all five of these lenses on the 60-megapixel Leica SL3.

The new Leica 21mm f/2 APO-Summicron-SL ASPH is on order but ETA unknown.

...

I had written with details to Roy P as to the Leica 35mm f/2 APO-Summicron-SL ASPH being a “a serious headache lens for landscape” along with a crop from these now-published evaluations.

The 35/2 APO at f/2 is a world-class reference-grade lens wide open at f/2. And with near-zero distortion.

But it has a practical problem that all but guarantees sub-optimal results.

Roy P writes:

Yes, it’s very obvious – even the thin branch right above the grass on the ground is crisper at f/2.

I can summarize this very quickly for you.

You have heard the adage about how if the only tool you have is a hammer, then you see every problem as a nail, right? Well, I think Leica is the opposite of this. It’s like Leica understands only one problem, namely a nail, so whatever lens or camera Leica builds, it will always be a hammer.

At its core, there’s only one thing Leica is about: how to make a lens as sharp as possible from corner to corner in the plane of focus at the widest aperture of a lens. That is the bragging right Leica strives for, IMO. If you read any version of Erwin Puts’ compendium, it’s always the same description for every lens, going back to the days of the Leica-R and Mandler-M lenses. It’s always the same comments, like “The lens is already at peak sharpness wide open”, and “Stopping down does not noticeably increase sharpness, but only increases the depth of field”. Repeat it for a hundred lenses, and voila! You’ve got yourself a book.

[DIGLLOYD: classic cognitive blindness is often found with experts— Erwin Putts vociferously refuted my findings over the severe flare issue with the 50/2 APO-M. 6 months later Leica stopped production to fix “a few small issues”. And yes, the lenses need stopping down, particularly on digital cameras]

And that is likely true with all the f/2 APO Summicron lenses. If you shoot only at f/2, occasionally stopping down to f/2.8 or f/4 to get both eyes or a group of people in focus, you will be a happy camper, because you will admire the sharpness where focused and the fall off into creamy bokeh behind the subject.

Any LACA / LOCA or cat’s eye rendering of points of light as you go away from the center, or color fringing at every high contrast edge? That is called rendering or character of the lens. Do you want to shoot a landscape at infinity? Shoot at f/2. Shoot the skyline of a city? Shoot at f/2. Do you have the 50mm f/0.95 Noctilux? Then shoot at f/0.95. That is Leica’s schtick.

IMO, that’s why Leica is tone deaf to the needs of anyone who walks around with a tripod and shoots landscapes. Zeiss would deeply care about this, but not Leica. It also makes sense why in Leica’s way of thinking, getting rid of the pixel shift multi shot mode was all too logical. I’d be willing to bet this was originally an idea from Panasonic and not Leica, and Leica never saw any value from this, because it’s not the use case they envision.

[DIGLLOYD: Probably a thing picked up by firmware code sharing agreement, agreement now over…]

That’s the problem with all these APO-Summicron-SL lenses. They are designed for you to shoot hand-held at f/2 and brag to your friends about the corner-to-corner sharpness wide open and the shallow DOF. Look at all the Oscar Barnack award winners over the years. There’s not a single photo that stands out for technical excellence. There are no landscapes or architectures. It’s all for hand-held “capturing of the moment” and “telling a story”.

The problem is, Leica confuses itself and puts out mixed messages. What Leica really should have done with the SL3 was a camera with the same resolution as the Sony A1 or the Leica SL2, but with a stacked CMOS sensor, much better autofocusing and a much higher frame rate. The 60 MP resolution was less important.

I can’t recall the last time I saw a landscape photo taken with a Leica camera, other than from photo trips organized by some Leica dealers. Anyone with their head screwed on right would shoot landscapes with a Sony A7R V, Fujifilm GFX100 II, or Hasselblad X2D.

So the SL3 is a people / street photography camera that can showcase the Leica APO-Summicron-SL lenses at f/2. If you have a use case for amazing 60 MP images shot hand-held at f/2, you have a premium solution with this camera and these lenses!

DIGLLOYD: I concur.

Except for one point: sometimes it is not about sharpness at all.

f2.8 @ 1/20 sec, ISO 100; 2024-03-21 18:47:20
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 5000°K tint 21, pull 0.33 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside and Bend in Alpine Creek (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

These aperture series evaluate the Leica 35mm f/2 APO-Summicron-SL ASPH from f/2 to f/11 on the 60-megapixel Leica SL3 using a subject at distance.

A serious sharpness-robbing behavior is shown and discussed. Each series confirms the other perfectly, definitively. I am not happy.

In diglloyd Mirrorless /diglloyd L-Mount, this pair of aperture series each confirms the other.

Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside
Leica 35mm f/2 APO-Summicron-SL ASPH Aperture Series: Bend in Alpine Creek

Includes images up to full camera resolution, plus crops.

I am really turned-off by my discovery in these series. Without extra work, you are guaranteed inferior results due to focus shift. Accordingly, I drop my recommendation for the Leica 35/2 APO. I refuse to work with a lens that all but guarantees that I will not be able to enjoy its optimal performance (superb) without extra care and work.

CLICK TO VIEW: Leica SL System

f2 @ 0.3 sec, ISO 100; 2024-03-21 19:07:27
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 6900°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]
f2.8 @ 1/20 sec, ISO 100; 2024-03-21 18:47:20
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 5000°K tint 21, pull 0.33 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 50mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

This page shows-off the high resolving power of the 60MP Leica SL3 sensor while detailing the somewhat erratic optical behavior of the Leica 50mm f/2 APO-Summicron-SL ASPH.

This f/2 - f/11 series teaches about the capabilities of lens vs sensor and performance as the lens is stopped down.

In diglloyd Mirrorless /diglloyd L-Mount:

Leica 50mm f/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside

Includes images up to full camera resolution, plus crops.

CLICK TO VIEW: Leica SL System

f2.8 @ 1/20 sec, ISO 100; 2024-03-21 18:55:19
LEICA SL3 + Leica 50mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 4900°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Roy P writes:

What I saw was, if I wanted shallow DOF, the Sony FE 50/1.2 GM is better than the Leica 50/2 APO-Summicron-SL.  Even at f/5.6, the Sony has a shallower DOF than the Leica. 

So for portraits / people, the Sony is a better lens, especially considering I can get far better eye AF with either the Sony A1 or Sony A7R V.  But for landscapes, buildings, cityscapes, etc., the Cosina Voigtlander FE 50/2 APO Lanthar is a fantastic lens that just pulls in more DOF out of thin air.  So much so that I really thought they were peddling an f/2.8 or f/3.5 lens as an f/2, and I had to take test shots with this lens and another 50mm lens, both at f/2 and both at the same ISO to verify that the camera was taking the same exposure time! 

An amazing lens.  So a Sony A1 + Sony 50 f/1.2 (for people / street photography) or an A7R V + CV 50 f/2 APO Lanthar (landscape / cityscape) are both better solutions for their respective use cases than the Leica SL3 + Leica 50 f/2 APO-Summicron-SL.

DIGLLOYD: not sure about the relative sharpness, but a lens with focus shift is de facto less sharp, and the Leica 50/2 APO-SL has that issue.

Leica 75/2 APO-Summicron-SL ASPH Aperture Series: Conifers Creekside (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

zzzz

In diglloyd Mirrorless /diglloyd L-Mount:

Leica 75/2 APO-Summicron-SL ASPH Aperture Series: Conifers Creekside

Includes images up to full camera resolution, plus crops.

CLICK TO VIEW: Leica SL System

f5.6 @ 8.0 sec, ISO 100; 2024-03-21 19:20:22
LEICA SL3 + Leica 75mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 6800°K tint 21, pull 0.33 stops, +10 Whites, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 28/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

This page shows-off the high resolving power of the 60MP Leica SL3 sensor while detailing the optical behavior of the Leica 28mm f/2 APO-Summicron-SL ASPH, which is rather variable.

This f/2 - f/11 series can teach a lot about the capabilities of lens vs sensor, and indeed it does not disappoint in surprises.

In diglloyd Mirrorless /diglloyd L-Mount:

Leica 28/2 APO-Summicron-SL ASPH Aperture Series: Landslide Hillside

Includes images up to full camera resolution, plus crops.

CLICK TO VIEW: Leica SL System

f2 @ 1/40 sec, ISO 100; 2024-03-21 18:52:03
LEICA SL3 + Leica 28mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, LACA corrected, distortion corrected, WB 5000°K tint 21, pull 0.5 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 90/2 APO-Summicron-SL ASPH Aperture Series: Yellow House at Dusk (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

This page shows-off the high resolving power of the 60MP Leica SL3 sensor along with its error-prone autofocus. And while detailing the behavior of the Leica 90MP f/2 APO-Summicron-SL ASPH, which must be respected in order to maximize its potential on the high-res sensor of the SL3 (or SL2).

The f/2 - f/11 series looks at imaging performance across the frame and near to far on the 60MP Leica SL3. A scene like this can teach a lot about the capabilities of lens vs sensor, and it does, including sharpness and focus shift and field curvature.

In diglloyd Mirrorless /diglloyd L-Mount:

Leica 90/2 APO-Summicron-SL ASPH Aperture Series on Leica SL3: Yellow House at Dusk

Includes images up to full camera resolution, plus crops.

See also:

Leica SL3: Feature Comparison vs vs Sony A7R V
Leica SL3: Value Proposition vs Sony A7R V, Fujifilm GFX100 II, Hasselblad X2D
Leica SL3 vs Sony A7R V: Lens Options

CLICK TO VIEW: Leica SL System

f2.8 @ 1.6 sec, ISO 100; 2024-03-21 19:42:35
LEICA SL3 + Leica 90mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 6250°K tint 21, push 0.66 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica 75/2 APO-Summicron-SL ASPH Aperture Series: Yellow House at Dusk (SL3)

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

This page shows-off the high resolving power of the 60MP Leica SL3 sensor, while detailing the behavior of the Leica 75mm f/2 APO-Summicron-SL ASPH, which must be respected in order to maximize its potential on the high-res sensor of the SL3 (or SL2).

The f/2 - f/11 series looks at imaging performance across the frame and near to far on the 60MP Leica SL3. A scene like this can teach a lot about the capabilities of lens vs sensor, and it does, including sharpness and focus shift and field curvature.

In diglloyd Mirrorless /diglloyd L-Mount:

Leica 75/2 APO-Summicron-SL ASPH Aperture Series on Leica SL3: Yellow House at Dusk

Includes images up to full camera resolution, plus crops.

See also:

Leica SL3: Feature Comparison vs vs Sony A7R V

Leica SL3: Value Proposition vs Sony A7R V, Fujifilm GFX100 II, Hasselblad X2D

Leica SL3 vs Sony A7R V: Lens Options

CLICK TO VIEW: Leica SL System

f2.8 @ 1.6 sec, ISO 100; 2024-03-21 19:38:52
LEICA SL3 + Leica 75mm f/2 APO-Summicron-SL ASPH
RAW: Adobe Color, Enhance Details, WB 6250°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica SL3: Corrupts Many Files —  at least 5 of 100

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

Firmware version 1.0.0... I neglected to update the firmware before tonight’s shoot. Me bad. No—Leica bad! Corrupted images indicate poor testing before shipping the product.

See black bar at bottom of image below. This one at f/11. Same capture at f/2, f/2.8, f/4, f/5.6, f/8 are fine. It seems to have been only 1 corrupted file out of 100.

UPDATE: file corruption is seen in at least 5 files out of 100. Always it is a strip of varying height at the bottom of the frame. Great testing Leica!

Proof that the camera is at fault is easy: the camera JPEG has exactly the same defect. Were it a card problem eg data corruption, it would never corrupt exactly the same portion of an image in two different files.

The good news is that all of the APO-Summicron-SL lenses are awesome performers with the 60MP sensor a worthwhile update capturing lots of detail.

Leica SL3 Firmware 1.1.0

Why are both the web page and the PDF notes lacking a date?

Updating the firmware erased all my settings. Ridiculous. Saving User Profile did not help. It took a good bit of time to set up, and it’s a do-over. Sloppy engineering, who at Leica thinks this is acceptable? Some obviously does! Save the settings to a card or whatever, and then read them back, if nothing else! This is nitwit engineering.

Brand-new camera and already they are fixing bugs. Bad that there are obvious bugs right out of the gate, but good they are fixing them. Still, I can’t complain too much because Sony took 10 months to fix their “cannot play” bug.

I do not know if this update will fix the corrupted file issue—no mention.

Leica SL3 Firmware 1.1.0

IMPROVEMENT

• Video settings: Tap and hold to lock in values
• ISO lock for setting Auto ISO by pressing and holding the thumbwheel (3 s)
• The Magnification function is now available in MF Mode. Simply press and hold the joystick • Optimized sequence for the menu item User Profiles
• Bug fixes in the firmware

CLICK TO VIEW: Leica SL System

f11 @ 0.8 sec, ISO 100; 2024-03-21 18:24:47
LEICA SL3 + Leica 75mm f/2 APO-Summicron-SL ASPH

[low-res image for bot]
OWC ROVER PRO wheels for Mac Pro

No tools or hassle… just place your Mac Pro’s factory feet into the Rover Pro’s polished stainless-steel housings and secure with a few hand twists.

When you’re done moving your Mac Pro around, the Rover Pro makes it just as quick and easy to convert back to the factory feet for stationary use.

Leica SL3: How do the Leica SL 28/2 APO, Leica SL 35/2 APO, Leica SL 50/2 APO, Leica SL 75/2 APO, Leica SL 90/2 APO Fare on the 60MP Sensor?

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

A local friend generously loaned me his set of Leica SL APO-Summicron lenses:

Worthy lenses for the Leica SL3, unlike the 35mm and 50mm non-APO dissapointments. But it’s kinda weird to think about what they cost...!

CLICK TO VIEW: Leica SL System

       
Leica APO-Summicron-SL lenses
OWC Envoy Pro Elektron

Ultra-high performance across entire capacity, outperforms the competition.

Tiny, bus-powered, rugged, compact!


√ No more slow and noisy hard drives!

FOR SALE: rare Coastal Optics 60mm f/4 UV-VIS-IR APO-Macro, rare Zeiss ZF 25mm f/2.8 IR-Distagon, Schneider 400mm f/5.6 APO-TELE-XENAR MRC Compact

In general

Most items with original box, lenses with lens caps, etc, except as noted. Clear and clean glass, known-good lens samples owned by Lloyd.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, but can ship FedEx insured. Contact Lloyd. Buyer pays FedEx insured shipping of choice.

  • All lenses here are “good samples” as far as my testing has determined; I never keep bad samples.
  • Nearly all are with original box and packaging (all that stuff up in the attic, I never throw away boxes).
  • My reputation is more important to me than any sale. I would never knowingly sell any gear with an issue. It’s that simple—just not worth it. Local buyers welcome to inspect firsthand.
  • All my glass tends to be pristine. If I see any kind of optical marring, I will note it prior to final sale.
  • Please note that new lenses have dust inside! Used lenses always have some dust, even after a week or two of use. NONE of my gear has ever gone to Burning Man or anything 1/10 that extreme.
  • Overseas is just too much of a hassle, but if payment is made I can hold a lens until buyer visits my area.

One-of-a-kind

       
Coastal Optics 60mm f/4 UV-VIS-IR APO Macro, Zeiss ZF 25mm f/2.8 IR-Distagon

Schneider 400mm f/5.6 APO-TELE-XENAR MRC Compact

All on Linhof Technikardan lens boards, copal shutters.

  • FOR SALE Schneider 400mm f/5.6 APO-TELE-XENAR Copal shutter+ Linhof Technikardan lens board $1900 . PRISTINE
  • $offer Rodenstock 135mm f/5.6 APO-Sironar-S Copal shutter + Linhof Technikardan lens board PRISTINE
  • $offer Schneider 150mm f/4 Tele-Xenar medium format lens (Pentacon)
  • $offer Carl Zeiss Jena 180mm f/2.8 MC Sonnar medium format lens (Pentacon 6 mount)

Tait S writes (unsolicited):

Lloyd, the Canon 5Ds R arrived today. It was well packed, arrived safely, and the contents of the package were as described. Thank you.

I want to share the condition of the camera with other potential buyers: When you rated this camera as excellent, you did not share what your scale is - "excellent" understates the condition compared to my experience elsewhere. I have purchased an E+ rated lens from bhphotovideo that was in worse condition than this. This camera arrived in better shape than any of my cameras have been in after even one weekend trip outdoors. Actually, with the very minor exception of a couple of hairline scratches on the top LCD readout, I can't tell it was used at all. The pricing of this camera was well below what it would sell for on ebay or other open market, and with confidence that I know the seller and that he has a reputation to maintain.

If you are ever selling anything I want in the future, I will buy with confidence the condition is at least as good as described, if not better. Thank you so much!


FOR SALE: Olympus Zuiko SHG 7-14mm f/4 ED, Olympus Zuiko SHG 14-35mm f/2 ED, Olympus Zuiko SHG 35-100 f/2 ED

In general

Most items with original box, lenses with lens caps, etc, except as noted. Clear and clean glass, known-good lens samples owned by Lloyd.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, but can ship FedEx insured. Contact Lloyd. Buyer pays FedEx insured shipping of choice.

  • All lenses here are “good samples” as far as my testing has determined; I never keep bad samples.
  • Nearly all are with original box and packaging (all that stuff up in the attic, I never throw away boxes).
  • My reputation is more important to me than any sale. I would never knowingly sell any gear with an issue. It’s that simple—just not worth it. Local buyers welcome to inspect firsthand.
  • All my glass tends to be pristine. If I see any kind of optical marring, I will note it prior to final sale.
  • Please note that new lenses have dust inside! Used lenses always have some dust, even after a week or two of use. NONE of my gear has ever gone to Burning Man or anything 1/10 that extreme.
  • Overseas is just too much of a hassle, but if payment is made I can hold a lens until buyer visits my area.

Olympus

   
Olympus SHG

 


FOR SALE: Nikon D850 + Really Right Stuff L-backet + XQD Cards + Zacuto Loupe, Original Box

In general

Most items with original box, lenses with lens caps, etc, except as noted. Clear and clean glass, known-good lens samples owned by Lloyd.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, but can ship FedEx insured. Contact Lloyd. Buyer pays FedEx insured shipping of choice.

  • All lenses are “good samples” as far as my testing has determined; I never keep bad samples.
  • Nearly all are with original box and packaging (all that stuff up in the attic, I never throw away boxes).
  • My reputation is more important to me than any sale. I would never knowingly sell any gear with an issue. It’s that simple—just not worth it. Local buyers welcome to inspect firsthand.
  • All my glass tends to be pristine. If I see any kind of optical marring, I will note it prior to final sale.
  • Please note that new lenses have dust inside! Used lenses always have some dust, even after a week or two of use. NONE of my gear has ever gone to Burning Man or anything 1/10 that extreme.
  • Overseas is just too much of a hassle, but if payment is made I can hold a lens until buyer visits my area.

Nikon

$2150 Nikon D850 with Really Right Stuff L-backet, known-good lens mount planarity (!), multiple batteries, box, 256GB + 128GB XQD cards, Zacuto loupe, original box and manual. Excellent condition, proven performer, known-good lens mount planarity, low mileage camera.

Nikon D850
OWC Envoy Pro Elektron

Ultra-high performance across entire capacity, outperforms the competition.

Tiny, bus-powered, rugged, compact!


√ No more slow and noisy hard drives!

FOR SALE: Leica 24mm f/3.8 Elmar-M ASPH, Leica 28mm f/2 APO-Summicron-M ASPH, Leica 90mm f/2 APO-Summicron-R ASPH

In general

Most items with original box, lenses with lens caps, etc, except as noted. Clear and clean glass, known-good lens samples owned by Lloyd.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, but can ship FedEx insured. Contact Lloyd. Buyer pays FedEx insured shipping of choice.

  • All lenses here are “good samples” as far as my testing has determined; I never keep bad samples.
  • Nearly all are with original box and packaging (all that stuff up in the attic, I never throw away boxes).
  • My reputation is more important to me than any sale. I would never knowingly sell any gear with an issue. It’s that simple—just not worth it. Local buyers welcome to inspect firsthand.
  • All my glass tends to be pristine. If I see any kind of optical marring, I will note it prior to final sale.
  • Please note that new lenses have dust inside! Used lenses always have some dust, even after a week or two of use. NONE of my gear has ever gone to Burning Man or anything 1/10 that extreme.
  • Overseas is just too much of a hassle, but if payment is made I can hold a lens until buyer visits my area.

Leica M

M lenses include box and leather case as shipped by Leica. These lenses are all in terrific shape.

       
Leica 24/3.8 Elmar-M ASPH, Leica 28/2 APO-Summicron-M ASPH, Leica 90mm f/2 APO-Summicron-R ASPH (

FOR SALE: Zeiss Otus 55mm f/1.4 APO-Distagon ZE, Zeiss 50mm f/2 Makro-Planar ZE, Zeiss 21mm f/2.8 Distagon ZE, Zeiss 100mm f/2 Makro-Planar ZE, Canon MP-E 65mmf/2.8 1-5X Macro, Canon EF 50mm f1.4

In general

Most items with original box, lenses with lens caps, etc, except as noted. Clear and clean glass, known-good lens samples owned by Lloyd.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, but can ship FedEx insured. Contact Lloyd. Buyer pays FedEx insured shipping of choice.

  • All lenses are “good samples” as far as my testing has determined; I never keep bad samples.
  • Nearly all are with original box and packaging (all that stuff up in the attic, I never throw away boxes).
  • My reputation is more important to me than any sale. I would never knowingly sell any gear with an issue. It’s that simple—just not worth it. Local buyers welcome to inspect firsthand.
  • All my glass tends to be pristine. If I see any kind of optical marring, I will note it prior to final sale.
  • Please note that new lenses have dust inside! Used lenses always have some dust, even after a week or two of use. NONE of my gear has ever gone to Burning Man or anything 1/10 that extreme.
  • Overseas is just too much of a hassle, but if payment is made I can hold a lens until buyer visits my area.

Canon

$1050 Canon MP-E 65mm f/2.8 1-5x Macro Photo Lens like new.
$offer Canon EF 50mm f/1.4, f/1.8, TC2X, TC1.4X

Zeiss

Samples hand-picked for me by Zeiss factory in mint condition with box.

 
Zeiss Lenses (Nikon mount as shown)

Leica 50mm f/2 Summicron-SL ASPH: Distortion and Distortion Correction

Leica 50mm f/2 Summicron-SL ASPH

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

A lot better distortion control than its awful 35mm sibling.

In diglloyd L-Mount/Mirrorless:

Leica 50mm f/2 Summicron-SL ASPH: Distortion and Distortion Correction

Includes uncorrected and corrected images up to full camera resolution (via Iridient Developer, which allows processing without correction).

CLICK TO VIEW: Leica SL System

f8 @ 1/80 sec, ISO 100; 2024-03-20 13:16:33
LEICA SL3 + Leica 50mm f/2 Summicron-SL ASPH

[low-res image for bot]

Leica 35mm f/2 Summicron-SL ASPH: Distortion and Distortion Correction — Most Pathetic 35mm Optical Design EVER?

Leica 35mm f/2 Summicron-SL ASPH

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

UPDATE: I’ve added images up to full camera resolution, both uncorrected and corrected.

I’m speechless.

Well no I’m not, see my review page where I tell you what I think, really.

Rarely if ever have I seen such a godawful optical design sold to unsuspecting customers—except on the Leica Q/Leica Q2/Leica Q3 where it was unacceptable at 24MP on the Q, and a seriously unfunny bad joke on the Leica Q3.

It is impossible to make a sharp image with this lens.

In diglloyd L-Mount/Mirrorless:

Leica 35mm f/2 Summicron-SL ASPH: Distortion and Distortion Correction

Includes uncorrected and corrected images up to full camera resolution (via Iridient Developer, which allows processing without correction).

It’s a huge disconnect from the superb reference-grade APO-Summicron.

Still, some users may like this relatively smaller and lighter lens for 'street shooting' or some such, but I can’t see a reason to pay so much for such poor performance—consider the about $598 Panasonic Lumix S 35mm f/1.8, which is probably a far better performer and 1/3 stop faster also and only 295 grams.

Below, go for the best (Leica 35/2 APO-Summicron-SL), or the Panasonic 35mm /1.8 S.

CLICK TO VIEW: Leica SL System

f8 @ 1/100 sec, ISO 100; 2024-03-20 13:23:53
LEICA SL3 + Leica 35mm f/2 Summicron-SL ASPH

[low-res image for bot]

The $6995 Leica SL3: Battery Charger $Extra, Can’t Charge Camera As-Supplied!

Leica SL3

re: Leica SL3 vs Sony A7R V: In-Depth Value Comparison

Real system cost and buyer fleecing should be called out for the shitty behavior that it is.

The Leica SL3 does not include a battery charger.

The Leica SL3 does not even include an AC power brick to power the supplied USB-C cable.

You literally cannot charge the camera unless you already own gear to do so. Yeah, most of us do, but that’s not true for everyone. And even if you do, it might not be a port that can charge at full speed. Or you might be somewhere where there is no such port.

Leica, you have to be kidding me... seriously? A $6995 camera which doesn’t even have feature parity with the about $3849 Sony A7R V, let alone a high-value low-cost Pro services offering. Or any pro support at all.

Spend another $220 for the Leica BC-SCL6 USB-C Dual Charger, which brings the effective camera price (with one $200 spare Leica BP-SCL6 battery) to $7415 = +$420 more. Even more retrograde, this $220 Leica charger cannot us 12V DC input (eg in a vehicle) as with chargers Leica used to make. I've made heavy use of 12V charging in the past. Very useful, very convenient. With this Leica charger, I need to power up my 2000W power inverter for its A/C power brick. Or buy something that can do high-power USB-C, which I did. But that is rather awkward when driving (can’t leave camera sitting out).

Versus Sony for just $78 for one spare battery (charger supplied with camera).

This is not a class act or premium product; that would imply a 1st-class user experience in which there are no left out pieces to frustrate with make-work efforts required to get to the starting line.

CLICK TO VIEW: Leica SL System

It’s not an option to have no charger and no spare battery:

  • Especially on the road, it is unacceptable to have a camera sitting around charging on a USB-C cable—it could get tossed-about. Or exposed to prying eyes. At best, it forces the camera into a bag strapped-down or heaped somewhere (to avoid damage), in an awkward place, as well as having to come up with a USB-C port will not charge at full power with many ports.
  • Even at home, having to dedicate a USB-C port on is a hassle and a headache with limited ports on some computers (no power brock supplied!). It also means a clunky brick (the camera) in just the wrong place on my desk since USB-C cables are short.
  • I need to keep shooting while a battery is charging. That’s impossible if the camera does the charging
  • Wear and tear from constant plug/unplug of the USB-C port. This WILL result in problems sooner or later.

Leica, this is messed-up!

Stefan D writes:

I am pretty sure this has to do with the new EU directive on reducing electronic waste.

I did some googling and found the link below just FYI.
https://www.dxomark.com/eu-device-charging-legislations/

DIGLLOYD: interesting possibility. Gives Japanese camera vendors a leg up.

  • Would those regs apply here in USA? After all, it has a USA warranty card, so the contents vary already in at least one respect for the US market.
  • A coupon for a free charger upon request would address it, if no other solution could be found.
  • I don’t see a price drop for lack of the $220 charger. And why is it $220?
  • If true, it needlessly generates ill will (very poor brand management!) to not include a little tag or small flyer saying that “due to EU regulations, a charger is not included...”.

OTOH, it works in Leica’s favor (profit) to NOT include a charger. So regardless of rreason(s), the same shitty end result accrues to customers. And not to Fujifilm or Sony or Nikon or Canon or Sigma customers!

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Sony Pro Services: Does not Coordinate with Sony Protect Warranty + Sony Response

Sony Pro Support

I recently paid for two years of Sony Protect Plus, essentially an extended warranty with loss/damage protection ($244.99). It is transferrable to a new owner should I sell the camera.

I also have paid yearly for Sony Pro Support ($100, and I consider it an outstanding value with excellent service I have used several times). So nothing but praise for Sony Pro Services for responsiveness and delivering what is promised and the very low cost.

I had called Sony Pro Services for a minor issue, and learned something quite disappointing:

The Sony Protect extended warranty coverage does not coordinate with Sony Pro Services.

I’d be happy to have Sony correct me on this, but the representative was quite clear that you have these two choices:

  • If you want extended warranty coverage, then it cannot go to Sony Pro Services; it must go to Sony Protect.
  • If you want fast turnaround, then it must go to Sony Pro Services, because Sony Protect will take weeks to turn it around. But you then have to pay for it out of pocket.

Suppose you have an issue, you send it to SPS, and it turns out to be a warranty thing. Now you are faced with either paying out of pocket, or a long delay in getting it transferred over to Sony Protect, and starting over. Not very professional!

This Sony corporated disjointedness needs fixing ASAP.

Sony Pro Support note

I was impressed with getting a note from Sony about 2 hours after this post went up from the lead for the Sony Pro Support team:

Hope all is well. Thank you for sharing your feedback with us.

I totally understand the process might be a bit convoluted. But we have been working with Sony Protect to ensure that the process goes smoothly for our customers.

When you reach out to Sony Protect to file a claim number, please mention that you are a PRO Support member, they will help expedite the process as well.

Please reach out to me if you need anything or have any questions.

Once again, thank you for your feedback.

...

Best is to Contact Sony Protect first, if they don’t response within 24hrs then you can contact PRO Support. We can reach out to them on your behalf as well.

If you do contact PRO Support first, let them know that you have Sony Protect and that you would like PRO Support to reach out to Sony Protect to assist with the claim. Either way, you can still send it in and we can request a claim on your behalf.

Since it’s going thru insurance, just like any insurance they want to know what happen, how it happens etc. therefore it’s always best to reach out to them first to prevent any further delay.

Sony Protect Contact:
Phone: 1-833-313-3331
mail: protect-di@photoregister.com

To make the process smooth, when email or contact Sony Protect, be prepared to answer the following questions:

Name
Phone number:
E mail id :
1. Address:...
2. Proof of Device Purchase (Receipt/Invoice)
3. Photos/Images of the device as well as a photo of the serial number
4. Source of Purchase (Where was the device purchased?)
5. Photos of the damages(if applicable):
6. Issue(s) description:
7. Damage date((if applicable):

DIGLLOYD: this is about as good as it gets for a company responding, so kudos to Sony. A seamless process would be ideal, but I understand that such things take time to sort out in big companies, process-wise.

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Fujifilm Professional Services Program

Relating to yesterday’s post mention of Sony Pro Services, reader Dr S reminded me that Fujifilm Professional Services is also available (since 2017).

Fujifilm Professional Services Program

Fujifilm Professional Services Program

The standout feature with the Fujifilm Professional Services Program is a 1-year warranty extension.

Fujifilm Professional Services Program at $399 (really $434 here in California) is less of a value than Sony at $100, given that the camera and lens pricing is little different for pro gear, indeed some Sony gear is more costly. Except for that extended warranty.

In 6 years (2017 through today), I’ve had no circumstances with Fujifilm gear that would have made it important, so I’ve saved $2400 so far by not signing up.

* Fujifilm’s program has sales tax applied, Sony’s does not. So it is really ~$434 vs $100. Some aspect of Fujifilm’s offering must make the whole thing taxable, a poor program design IMO.

Positives

Fujifilm Professional Services Program Terms and conditions

  • 1-year extended warranty on any new, qualifying X Series and GFX System gear purchased and registered in a qualifying membership year
  • Two (2) free “Check and Clean” services on eligible gear
  • Fifty Percent (50%) off any additional Check and Clean services during the qualifying membership year
  • Thirty Percent (30%) off expedited repairs
  • Two (2) business day turn around on all services
  • Exclusive access to loaner equipment.

Negatives

The first two are unreasonable IMO.

For example, 2 days after subscribing to FPS, your camera is stolen and you do not replace it—no refund. Similarly, Apple AppleCare allows transfer with the computer—why not with camera gear?

  • You will not under any circumstance be entitled to receive any refund of the paid participation / membership fee from Fujifilm.
  • Non-transferable.
  • You will bear all risk of loss or damage to the Loaned Equipment while in your possession and until its return to Fujifilm.
  • $399/year
  • Warranty extension is “outsourced to a 3rd party”. Not much of a confidence builder.
  • Alaska and Hawaii residents are excluded. Is this just to save shipping costs?

About FPS

FUJIFILM Professional Services (FPS) provides outstanding support for professional photographers. For only $399 per year, qualified X Series and GFX System owners can rest assured that the FUJIFILM Professional Services Team is close at hand. Members in the FPS Program will receive exclusive phone and email support, two complimentary Check and Cleans, discounted and expedited services, and express repairs and loaners where applicable.

It’s easy! Just register any qualifying GFX System or X Series Products at www.RegisterMyFujifilm.com. When you’ve registered products with an aggregate MSRP value totaling $3,000 or more, you will become eligible to purchase your FPS membership!

Term and conditions apply. For full details, read here.


  • Receive 1 Year extended warranty on any new gear purchased and registered in a qualifying membership year
  • Dedicated phone number & email for customer support
  • 2 free check and clean services and 50% off on any additional check and clean services (does not include internal cleaning)
  • 30% off expedited repairs
  • 2 business day turn around on all services (some exclusions apply)
  • Exclusive access to loaner equipment (certain terms and conditions apply)

Dr S writes:

That Sony thing about Sony Protect is an interesting potential mess.

BTW, as I said earlier, I got the GFX100 II early on when stock was sparse. After I got the cam I discovered a problem. The dealer could not get any more stock for awhile so I bravely sent mine into Fujifilm.

To my delight they exchanged the $7500 body for another brand new one and paid all the shipping.....taking only one week! Had I not been an FPS member, who knows how long the check and repair time would have taken!

DIGLLOYD:


Camera System Value Proposition: Sony A7R V vs Leica SL3 vs Fujifilm GFX100 II vs Hasselblad X2D

re: Leica SL3
re: Sony A7R V

Leica SL3
Sony A7R V

Some (eg Scott Adams) would say that the idea of “fairness” is for children and idiots. I suppose it depends on what you mean by it.

What is the “fair” comparison?

Similar cost?
Arbitrary naming conventions with no specific definition eg “APO”?
Manual vs autofocus?
Design or application intentions?
Lens speed eg is f/1.2 of greater value than f/2?
Totally subjective rendering style?

Hence... the children and idiots thing.

...

Hasselblad X2D
Fujifilm GFX100 II

If the $879 Voigtlander FE 50mm f/2 APO-Lanthar can match or beat the $5095 Leica 50mm f/2 APO-Summicron-SL ASPH, then what? And what about the autofocus Sony FE 50mm f/1.2 GM and/or Sony FE 50mm f/1.4 GM, having a full 1.5 stops and 1 stop lens speed advantage and smaller and lighter too.

If the $949 Voigtlander FE 35mm f/2 APO-Lanthar can match the $5195 Leica 35mm f/2 APO-Summicron-SL ASPH, then what? And what about the Sony FE 35mm f/1.4 GM? The Voigtlander outperforms it, but the Sony 35/1.4 is a darn fine lens and autofocus and a stop faster than the Voigtlander and the Leica.

See Roy P’s comments below on the relative sharpness of the Sony/Voigtlander vs Leica APO. And the regular leica 35mm and 50mm Summicron-SL lenses are grossly inferior to the APO versions.

CLICK TO VIEW: Leica SL3 35mm and 50mm System

CLICK TO VIEW: Sony A7R V 35mm and 50mm System

CLICK TO VIEW: Fujifilm Medium Format

CLICK TO VIEW: Hasselblad X2D Medium Format

Value

Sony is by far the best value.

Did I mention Sony Pro Services and Fujifilm Professional Services Program? Leica has nothing remotely comparable in service (as of 2024-March). Lame. Although there is a one-year warranty extension for registering your Leica gear (transferrable?).

And then there is the king-of-the-hill Sony FE 12-24mm f/2.8 GM vs Leica’s cheap knockoff 14-24 (seems to be a Sigma 14-24/2.8).

Where’s the value in paying a massive price premium for a Leica SL3 that does not even achieve feature parity and has glaring omissions vs the Sony A7R V?

A 100MP Hasselblad X2D is compelling vs a Leica SL3—fantastic Hasselblad XCD lenses that cost ~half as much. A Fujifilm GFX100 II system also some standout lenses like the Fujifilm GF 55mm f/1.7 and Fujifilm GF 20-35mm f/4... at half the price of Leica APO but without the fussy naming—massively superior value.

The way it works: buy Leica, then rationalize the choice—works every time!

System cost for various camera brands as of 2024-03-16 at bhphoto.com

Reader comments

Sylvester W writes:

I agree 100% with your opinion on this topic. It is exactly as you describe in your tests.

I'm just glad that so many reviewers don't see this scale and every time a new camera appears, they scream with delight as if it were some miracle. I'm not using any brand names here. We know perfectly well what this is about. The role of each reviewer should be to show the reliable side of the product in relation to the price we have to pay, the role of the manufacturer is advertising. By being subjected to any pressure or enthusiasm in a product review, the whole thing loses logic and sense. I hope that there is still a "free press" in this field, I wish you good luck and thank you for your reliability.

DIGLLOYD: see my compare/contrast of Sony vs Leica.

Roy P writes:

Absolutely. 

In my head to head comparisons at the same f-stops between the Leica 50 f/2 APO-Summicron-SL and the Sony 50 f/1.2 GM, the two things that really stood out were (a) the Sony 50 GM is as sharp as the Leica APO-Summicron, and (b) the Sony actually has a shallower DOF than the Leica.  So the transition into out of focus is actually noticeably better with the Sony, if shallow DOF is your goal (e.g., people, subject isolation). 

OTOH, if max DOF is your goal (landscapes, cityscapes), then the Voigtlander FE 50 f/2 APO Lanthar (for Sony E mount) is as good as the Leica, perhaps even a tad superior.  So much so that when I first tested the CV 50 f/2 APO, I suspected Cosina might be cheating, pushing an f/2.8 or f/3.5 lens as an f/2, so I actually took test shots at the same ISO with the CV and another 50mm lens to verify that both lenses took the same exposure times!  (I think I had mentioned this to you a few years ago).

At any rate, a Sony A7R V + one extra Sony battery + Sony 50 f/1.2 GM + a CV 50 f/2 APO Lanthar VM for a total of about $6760 is $5,500+ less than the cost of the body of the SL3 ($6995) + BP-SCL6 battery ($170) + $5095 for the Leica 50 f/2 APO-Summicron-SL, which add up to $12,265.  That $5500 can buy a slightly used Sony A1 in 9+ condition in the B&H Photo Used department, or finance more than two thirds of a Fuji GFX 100 II ($7500).

DIGLLOYD: yep.


Which is Better, Sony A7R V vs Leica SL3?

re: Leica SL3
re: Sony A7R V

Leica SL3

The Leica SL3 should be here Monday for review. Lenses might take a few more days though, so coverage likely end of week.

I am not all that keen on reviewing the non-APO 35mm and 50mm lenses but I have requested those, along with a lens I am keen to review, the Leica 21mm f/2 Super-APO-Summicron-SL ASPH.

If you already own Leica SL L-Mount lenses, particularly the fabulous reference-grade APO-Summicron wonders, then the Leica SL3 is the camera that will give you more for the same effort.

As for Zeiss ZM or Leica M lenses, these are nearly all turds on the SL3 or SL2 (or even M11)—they were never designed for the sensor cover glass, and M-lens performance is generally tapped-out around 24 megapixels*.

* A very few lenses do OK, like the Leica 35mm f/2 APO-Summicron-M ASPH and the Voigtlander VM 35mm f/2 APO-Lanthar, and the Zeiss ZM 35mm f/1.4 Distagon (stopped down). Most others show ridiculously poor performance and are unacceptable even at f/8.

Camera Infomercials

Recent video “reviews” of the Leica SL3 by coin-operated talking heads (soon to be replaced by AI?) are laughable entertainment worthy of mockery. But to be expected when 'coin' is involved, as in all-expenses-paid trips to Germany and/or early loaner gear which will not be forthcoming next go-round if the Right Things are not gushingly emitted.

That is, the things you could have been using for years now with the Other Brands.

That is the seamy underworld of the biz, and has been for as long as I’ve been reviewing photo gear. In my 15 years of experience, only one company is an exception to that. And it’s why I rarely if ever (for years now) get any loaner gear from camera companies in any timely manner or at all. It’s for the best.

As for usability/haptics/functionality: some photographers shoot differently than I do, obviously. But that is not an argument for general usefulness of a camera, it’s an N=1 anecdote. No logic can ruffle that “works for my limited needs” cognitive commitment.

When a camera does something particularly well and better than all the others, then that is an argument. Which is my point. But achieving parity is not much of an argument.

Sony A7R V vs Leica SL3

In diglloyd Mirrorless /diglloyd L-Mount:

Leica SL3: Feature Comparison vs vs Sony A7R V

Leica SL3: Value Proposition vs Sony A7R V, Fujifilm GFX100 II, Hasselblad X2D

Leica SL3 vs Sony A7R V: Lens Options

Leica SL3 and Sony A7R V


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