LEICA SL2-S
Leica pushes its SL full-frame mirrorless system even more into the mainstream with the multi-talented SL2-S, and there’s even affordability in this mix. Yes, really.
There are still a lot of distinctly Leica qualities in its latest L mount mirrorless camera, but it’s also more mainstream than ever before and very competitive in terms of both performance and… wait for it… yes, price. With the SL2-S, Leica camera ownership is very much within reach.
OK, we’re not going to kid you that Leica has suddenly started building cheap cameras, but the SL2-S is closer to the ball-park in terms of its immediate Japanesemade rivals than has sometimes been the case in the past. And, given that $5,000 to $6,000 isn’t unusual for a top-end full-frame mirrorless camera, at $7,500 the SL2-S doesn’t look such a long stretch at all. The difference is essentially all the things that make it a Leica – a supreme build quality that’s derived from it being largely screwed together by hand, no skimping on materials and a comparatively low production run that guarantees a certain level of exclusivity. Plus, there’s that all-important ‘Made In Germany’ marking on the baseplate.
Of course, there is the little matter of the lenses – and the
SL optics are actually Leica’s finest – which don’t come cheap – but since the SL2-S is an L-mount camera, there are more affordable alternatives, particularly from alliance partner Sigma. In fact, in what has to be a big tick of approval for the Japanese independent lens maker, Leica itself actually offers the SL2-S packaged with the Sigma 2470mm f/2.8 DG DN Art series standard zoom, yours for $8,990.
The SL2-S shares the same all-metal body as the SL2, but has a new 24.6MP (effective) backsideilluminated CMOS sensor – not the same non-BSI imager as was used in the original SL – and significantly upgraded video capabilities with even more to come via a firmware upgrade due any time now. This makes the SL2-S the most hybrid of Leica mirrorless cameras to date, and it’s clearly with the aim of having more of a presence in the video sector where Panasonic’s Lumix S cameras have been the main L-mount offerings so far (see the Making Movies panel for the rest of the SL2-S’s video story). There’s also a growing range of Leica cinematography lenses and clearly Leica would like to see one of its own camera bodies on the back of them.
With a total of a million pixels on a full-frame sensor, the pixel size is 5.94 microns, which means
a healthy signal-to-noise ratio, translating into a wider dynamic range and enhanced high-ISO performance. The sensitivity range is ISO 50 to 100,000. To optimise the resolution, there’s no optical low-pass filter and Leica has designed a unique microlens array primarily to ensure better performance when M-mount lenses are fitted via an adapter (there are adapters for R and S system lenses too). Like the SL2, the SL2-S even has a dedicated external metering sensor for when M lenses are fitted (this generates the exposure metadata for the EXIF info). That’s the little window on the front panel to the right of the EVF housing (or on the left if you’re behind the camera).
UP TO SPEED
The sensor is mated with Leica’s latest-generation Maestro III processor which has been beefedup to enable 4K video with 10-bit 4:2:2 colour – or, more specifically, the substantial 400 Mbps bit rate – and 25fps burst speed with RAW capture using the sensor-based electronic shutter.
Using the mechanical shutter, the top speed is still a handy 9fps. There’s a 4GB buffer memory so, with JPEG capture, the burst length is essentially only limited by how much storage you’ve got loaded (Leica is quoting at least 1,000 frames a pop, but nobody is ever going to get near that with real-world shooting). There are dual memory card slots for UHS-II SD format devices.
The maximum image size is 6000x4000 pixels, with the options of two smaller sizes for JPEG capture. A choice of six aspect ratios is also provided – 3:2, 7:5, 4:3, 1:1, 3:1 or 16:9 – and the camera will automatically switch to the APS-C sensor format when a TL lens is fitted (the L/TL relationship is the same as that of Sony’s FE/E). As per all Leica digital cameras, RAW files are captured in the Adobe DNG format with 14-bit RGB colour.
Like the SL2, the SL2-S has in-body image stabilisation via sensor shifting, which is important because none of the current SL lenses have optical stabilisation… Leica contends that stabilised lenses compromise image quality as the goal is always to maintain an optical resolution of 60 lpm (lines per metre) for the SL-ApoAspherical lenses via the “perfect and constant” alignment of the elements. The SL2-S’s IBIS has five-axis movement and gives up to 5.5 stops of correction for camera shake (depending on the lens focal length). Leica takes sensor shift further by offering a multishot capture mode for creating high-resolution files. This creates eight frames – with half-pixel shifts – to increase the resolution and colour accuracy (since RGB colour is recorded at every pixel point, eliminating the usual interpolation). The function creates two Adobe DNG RAW files – one at the standard 24MP and the other at an ultra-high 96MP with an image size of 12,000x8000 pixels. Obviously this can only really be used with static subjects and the camera mounted on a tripod, but it obviously has applications in areas such as landscapes and architecture. However, there’s a motion artefacts correction facility to deal with edge blurring caused by very slight movements.
The Leica design philosophy for its cameras has been Das Wesentliche, which translates as ‘only the essentials’, so don’t expect the SL2-S to be packed with frills. In terms of in-camera processing for JPEGs, it is indeed very much only the essentials, but it’s all you really need. There’s a choice of five Film Style presets for Standard, Vivid, Natural, Monochrome and Monochrome High Contrast. The colour presets are adjustable for contrast, sharpness and saturation, while the B&W options have just the first two. Long exposure noise reduction can be set to low, medium and high… and that’s your lot. No filter effects (no great loss surely), no HDR capture (but there is auto exposure bracketing that will do the same job) and no manually selectable corrections for lens aberrations (Leica does the hard yards here with the optical designs). There’s an intervalometer that’s programmable for up to 9,999 frames, a dual-delay selftimer and... erm, well, what more do you want?
TRACK AND FIELD
As we’ve noted with the previous SL models, Leica almost certainly has its other L-Mount Alliance partner Panasonic to thank for the autofocusing system. It uses contrast detection exclusively along with what Leica calls “depth mapping”, which is essentially Panasonic’s Depth From Defocus (DFD) distance sampling as used in the Lumix S bodies.
While everybody else has adopted on-sensor phase-detection AF, Panasonic has stuck with
DFD because it’s now just as
THE SL OPTICS ARE ACTUALLY LEICA’S FINEST – WHICH DON’T COME
CHEAP – BUT
SINCE THE SL2-S IS AN L-MOUNT CAMERA, THERE ARE MORE AFFORDABLE ALTERNATIVES.”
responsive and just as quick. It works by comparing the depthof-field in a rolling pair of images – now sampled at 480fps (which is probably also the case here) – to determine the focus distance, and the lens is only driven after this has been achieved… which is what also happens with PDAF.
The 225 measuring points give close to full-frame coverage and the area modes comprise MultiField, Spot, Field, Zone, Tracking and Face/Body Detection. When set to Intelligent AF, the SL2-S automatically switches between single-shot and continuous operation.
AI-based subject recognition drives ‘Leica Object Detection’ to enhance the face/body detection and subject tracking. Eye and head detection will be added with the upcoming firmware upgrade, putting the SL2-S on par with the updated Lumix S models. There’s a choice of subject settings to tailor the tracking to certain types of movement – Children/Pets, Team Sports, Runner and Wildlife – with adjustable parameters for Depth Sensitivity, Field Movement and Shift In Direction; the last can be set over five steps from Fix and Responsive. It’s also possible to register the AF Tracking Start Position to Centre, Recall or Last
Position. The LCD touchscreen allows for Touch AF operation, with a ‘touchpad’ function available when using the EVF.
Manual focusing is assisted by a magnified image (with three size settings) or a focus peaking display in red, green, blue or white with a choice of two intensity levels.
The SL2-S’s exposure control system is largely the same as that of the SL2 with the exception of the sensitivity range topping at
ISO 100,000 rather than 50,000, a reduced compensation range and some changes to the electronic shutter. Metering is sensor-based, with the choices of multi-zone, centre-weighted average or spot metering measurement driving the standard choice of ‘PASM’ control modes. The overrides comprise an AE lock, exposure compensation of up to +/-3.0 EV, and auto bracketing over three or five frames with up to +/-3.0 EV of correction per frame. The mechanical shutter’s speed range is from 30 minutes to 1/8000 second, while the electronic shutter runs from 60
seconds up to 1/16,000 seconds, and obviously allows for silent and vibration-free shooting. There’s also the option of the hybrid first curtain electronic shutter that reduces both noise and vibration compared to when only using the mechanical shutter, but still permits the use of electronic flash. The maximum flash sync speed is 1/250 second.
The white balance control options comprise an auto correction mode, eight presets (including one for HMI lighting), a custom measurement which Leica calls “Grey Card” (and is also available in live view) and manual colour temperature setting over a range of 2,000 to 11,500 Kelvin. No bracketing or fine-tuning though.
The SL2-S uses the same 1,860 mAh battery pack as the SL2 and is compatible with the same vertical grip accessory. Housed in the handgrip, the battery incorporates the compartment cover and there’s a double locking arrangement to prevents it from falling out if you’re not holding on to it when you flick the release lever. In-camera recharging is available via USB-C, and the SL2-S also has a full-size Type-A HDMI connector, plus stereo audio in and out via 3.5mm minijacks. The Wi-Fi connectivity supports both the 2.4 and 5GHz bands and is supplemented by Bluetooth LE. The Leica FOTOs app enables remote camera operation, a live view feed to the connected device and wireless file transfer, including the DNG RAWs.
IN THE HAND
There’s no mistaking the heft of a Leica camera body and, at 850g even before you load the battery, the SL2-S is a heavy beast, but it’s also one that’s beautifully finished. The precision of the fit is evident in every join and junction, and the whole thing just exudes class.
Understated class in this case, as the Leica name badge is blacked out, albeit in gloss black so, at certain angles, it will stand out against the body’s matte black finish… but if you want to show off, you’re just going have to rely on the classic ‘red dot’ badge. You even have to look very hard to see the ‘SL2-S’ inscription etched in tiny type on a rail of the hotshoe.
The top and bottom body covers are hewn from solid blocks of aluminium, while the chassis is magnesium alloy. It’s all weather sealed and insulated to allow shooting in subzero temperatures down to -10ºC. The handgrip is pretty substantial and shares the same diamond-patterned leatherette insert as the rest of the body.
The control layout is where you find out that Leica likes doing things a bit differently which, similar to a 1960s Italian car’s dashboard, means very little is actually marked… and the number of controls has been rationed too. This is partially because there’s a top-panel info display and partially because all the unmarked buttons – there’s five of them – are customisable, as is the ‘Fn’ key on the back panel (which is, helpfully, marked “Fn”). It doesn’t take long to get the SL2-S set up so all the… ahem… essentials are at your fingertips. Press the relevant button for a second or two and up pops the list of assignable functions. Additionally, the touchscreen implementation includes the main info screen that provides quick access to 12 functions as well as all the exposure-related settings, including the ISO and compensation. Furthermore, up to six user profiles – for example, setups suited to a particular subject – can be created, which then appear as ‘Favourites’ menu pages.
Touchscreen implementation doesn’t extend to the main menu, but it’s easily navigated with the joystick – or the input wheels – and it’s not exactly extensive… just six pages in total with the convenience of continuous scrolling. The joystick’s press-in action serves as the enter command or on/off switch, although in some instances the right/left action will also do this too, so you do need to watch that you don’t accidentally select or deselect something.
In keeping with its hybrid design, the SL2-S becomes a
“LEICA TAKES SENSOR SHIFT FURTHER BY OFFERING A MULTISHOT CAPTURE MODE FOR CREATING HIGH RESOLUTION FILES AT 96MP WITH AN IMAGE SIZE OF 12,000X8000 PIXELS.”