Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH: Assessing Distortion at 16mm, 25mm, 28mm, 35mm, plus MTF
See my L-mount mirrorless wishlist
The Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH relies on software correction for distortion, including a jaw-droppingly huge amount at the 16mm setting—perhaps taking a cue in optical design from the extreme distortion of the Leica Q.
The degrading effects of distortion correction in both single shot mode and especially Multi-Shot High-Res mode are well worth understanding for anyone thinking of high resolution capture.
I take a close look at distortion and the effects of distortion correction in diglloyd L-Mount Mirrorless:
- Distortion @ 16mm for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
- Distortion @ 21mm for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
- Distortion @ 25mm for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
- Distortion @ 28mm for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
- Distortion @ 35mm for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
Distortion correction relates directly to MTF: I also discuss MTF in depth, noting two points that make the Leica MTF charts misleading at best:
MTF for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH
I’m stunned that an about $5500 lens with an exceptionally dark f/3.5 to f/4.5 maximum aperture relies upon sharpness-robbing distortion correction to combat extreme distortion at 16mm that seems more fitting for a consumer-grade APS-C kit lens.
Below, the uncorrected distortion at 16mm with the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH. Image processed with Iridient Developer, which allows raw conversion with or without “mandatory” distortion correction—Adobe Camera Raw in either Photoshop or LIghtroom provides no option to disable correction for built-in lens profiles (those that the camera writes into the EXIF).