Dr. Heinz-Georg
Nordmann, member of the Leica Historica e.V and author of excellent articles in
the legendary Vidom magazine, during the Photokina 2018 in Köln (Germany)
holding in his hands a Leica CL Silver coupled to a tiny 8 elements in 6 groups
(four of them aspherical) Elmarit-TL 18 mm f/2.8 ASPH (equivalent to a 27 mm
lens in 35 mm format) and making up an exceedingly compact and light
photographic gear optimized to shoot handheld, following the fundamental
keynotes set forth by Oskar Barnack in Wetzlar (Germany) between 1931 and 1935
through the screwmount Leica rangefinder cameras with interchangeable lenses
Leica 1 (Model C Standard Mount), Leica Standard (Model E), Leica II (Model D),
Leica III (Model F) and Leica IIIA (Model G) before his death on January 16,
1936.
© jmse
One year and six months
have elapsed since the introduction of the 24 megapixel APS-C format mirrorless
Leica CL digital camera by Leica Camera AG in November 2017, and in spite of
lacking any stabilization system and being far from the host of electronic
functions and technological breakthroughs featured by many APS-C format
mirrorless cameras manufactured by other respected brands, it has turned into
the reference-class photographic tool in its product segment in terms of image
quality, elegance of design, constructive standard, handling convenience and
optomechanical quality of world-class lenses available for it.
A SMALL AND VERY ELEGANT
MIRRORLESS CAMERA WITH VINTAGE CHARM AND TOP-NOTCH METALLIC CONSTRUCTION
It´s really amazing that
after launching into market such stellar performing cameras like the medium
format Leica S, the 24 x 36 mm format Leica SL mirrorless EVF and the 24 x 36
mm format Leica M10 rangefinder (also the pinnacles of their respective product
scopes),
Maike Harberts,
Product Manager of Leica APS-C Cameras and designer of the Leica CL.
©
jmse
Leica Camera AG had the
ingenuity, insight and historical perspective to build
The sleek lines
of the Leica CL are a relish to behold. It´s an exceedingly compact (131 x 78 x
45 mm) and light (403 g) mirrorless digital EVF camera, featuring a 23.6 x 15.7
mm APS-C sensor with a crop factor of 1.53, a surface area of 370.5 mm2 and
aspect ratio 3:2. The elegant simplicity of design and minimalist product
philosophy of this photographic tool are truly fascinating. Moreover, in spite
of its exceedingly small dimensions and very low weight, this is a very solid
camera.
© Leica Camera AG
this exquisite and retro
styled APS-C format mirrorless digital camera with such a high level of
craftsmanship and conceptually harking back to Oskar Barnack´s keynote of tiny
and exceedingly comfortable to use photographic camera shooting handheld in
symbiosis with also petite and top-notch lenses matching the compactness of the
body.
Because to all intents and
purposes, though lacking a RF (it features an electronic viewfinder on top left
of the camera back, so viewing for a photographer is similar to a classic
analogue Leica rangefinder camera),
© Leica Camera AG
the Leica CL (Typ 7323) is
a homage to the lineage of screwmount 24 x 36 mm format analogue Leica
rangefinder cameras from second half of twenties, thirties, forties and fifties
and also to their forefather, the Ur Leica from 1914, however incredible it may
seem, already well within the digital era and at the end of the second decade
of XXI Century.
To properly fathom this,
it is important to grasp the paradigm change that digital era has meant to
photography from an image quality viewpoint, to such an extent that current
APS-C and Micro Four Thirds format digital cameras have occupied the place of
35 mm analogue format, while the present digital 24 x 36 mm format cameras
yield an image quality comparable to analogue medium format cameras.
In addition, albeit
rendering different visual aesthetics and bokeh, excellent medium format
digital cameras like the Fujifilm GFX 50S, Fujifilm GFX 50R, Fujifilm GFX 100,
Hasselblad X1D-50C, Hasselblad H6D-100C, Hasselblad H6D-400C, Pentax 645Z and
others produce an image quality comparable to 4 x 5 (10 x 12 cm) analogue large
format cameras, and the medium format digital Leica S3 delivers an image
quality comparable to 5 x 7 (13 x 18 cm) format analogue large format
cameras.
Oskar Barnack´s initial
idea was to build a Ur Leica prototype camera loaded with 18 x 24 mm format
cinematographic black and white film that he had been using throughout second
half of 1911, 1912 and 1913
© jmse
with a metallic movie
camera he had created and coupled to a Zeiss Kino Tessar lens to make a number
of motion pictures tests with a constant exposure time of 1/40 s.
But The Genius realized
that each individual 18 x 24 mm cinematographic frame could only be enlarged
with good results on photographic paper up to approximately 13 x 18 cm, so
utterly aware that it was necessary to get good quality enlargements up to 20 x
28 cm and even more for the success of his Leica Ur prototype, he opted for
doubling its length up to 36 mm, giving birth to the 24 x 36 mm format with 2:3
golden proportion.
Id est, in 1914, even the
best available cinematographic black and white 18 x 24 mm frames were too small
to beget acceptable results beyond postcard size.
Even, the Leica 72 cameras
(of the 150 units made at Leitz Midland, Ontario, Canada, taking 72 exposures
instead of 36 on standard 35 mm film) which were tested by Walter Mandler
(eminent lens designer) and Otto Geier (Supervisor of the Optic Department ) in
mid fifties, could only yield acceptable results beyond 20 x 30 cm with ISO 32
Kodak Panatomic-X black and white film, whose very low sensitivity made it
unpractical for a significant percentage of photographic contexts shooting
handheld.
But roughly sixty years
later, the stunning digital technology has made possible to fulfill an old
dream : the construction of very small and light photographic cameras boasting
very little state-of-the-art APS-C digital sensors conceptually related to the
18 x 24 mm format cinematographic analogue standard, but now able to yield
excellent 50 x 70 cm and even larger prints on photographic paper.
EXCELLENT BUILT-IN
ELECTRONIC VIEWFINDER
The pretty compact and
light (131 x 78 x 45 mm and 403 g) Leica CL mirrorless digital camera
Cutaway of the
Leica CL coupled to a Leica-TL 35 mm f/1.4 ASPH. The camera includes a
mechanical shutter with maximum speed of 1/8000s and an electronic one reaching
1/25.000 s. In addition, it features a very fast and accurate contrast based AF,
whose speed has significantly been improved with respect to the Leica TL.
©
Leica Camera AG
features a 2.36 megapixel
superb integrated electronic viewfinder with 0.74x magnification and located on
upper left corner of the body back, in the style of classical analogue Leica
rangefinder cameras.
Leica CL back
area, highly reminiscent of the M10, with the central touchscreen, only three
buttons (PLAY, FN AND MENU) on the left and a four way switch on the right,
with a middle button. The eyepiece of the exceedingly bright and clear
electronic viewfinder is visible on top left. In the same way as happens with
24 x 36 mm format both analogue and digital rangefinder Leica cameras, that
location of the EVF (unlike slr cameras featuring the VF on middle top of the
rear zone, so the vision of the other eye and what happens outside the frame is
blocked) enables the photographer to preserve the binocular nature of human
being, so he/she can see what is taking place inside the frame and outside it,
and understand much better that the world continues outside the frame. Though
not reaching the stratopsheric level of the Leica SL electronic viewfinder, the
German photographic firm has made a strenuous effort with the Leica CL EVF
which is really first-class, with excellent colours and virtually imperceptible
lag.
© Leica Camera AG
In addition, it boasts a
latency time below the threshold of perception and has a diopter adjustment dial, while
regarding filming capabilities, it yilrds 4K video at 30 fps and Full HD at 60
fps/30 fps.
© Leica Camera AG
EXTRAORDINARY IMAGE
QUALITY
Right off the bat, Leica
knew that only achieving a second to none image quality in the APS-C segment
stemming from the synergy between first-class AF primes and zoom lenses, a very
good digital sensor and an exceedingly fast and accurate dsp would it be able
to be successful with the Leica CL mirrorless camera in such a highly
competitive domain as the APS-C sphere, where a lot of firms of the
photographic market had already excellent cameras in 2017, particularly Fuji
(with models like the Fujifilm X-Pro2, Fujifilm XT-2 and others) and Sony (Sony
Alpha 5100, Sony Alpha 6000, Sony Alpha 6300, Sony Alpha 6500, Sony Alpha 6400,
etc).
But aside from its
tremendous optical know-how and experience, Leica Camera AG had a decisive
advantage when it came to designing top class lenses for its Leica CL
mirrorless APS-C format camera with built-in viewfinder:
© Leica
Camera AG
the highly versatile and
efficient large size bayonet L Mount with an inner diameter of 51.6 mm and an exceedingly
short flange distance of only 20 mm.
This breakthrough L mount,
the most important one in the history of Leica hitherto along with the M mount
( featuring an inner diameter of 44 mm and a flange distance of 27.80 mm,
created by Hugo Wehrenfenning in Wetzlar in 1950, together with the first
prototypes of Leica M lenses) offers some major advantages:
a) Its very large diameter
enabling to couple both highly luminous lenses for 24 x 36 mm format (even
f/0.95 and f/1.2) and objectives for APS-C one.
b) The exceedingly sturdy
build, with four flange segments guaranteeing an excellent stability and
coupling tightness between camera and lenses.
c) The very short flange
distance of 20 mm, which makes possible to use through adapter a myriad of
lenses with different mounts and from various epochs, both AF and manual
focusing ones, particularly the superb Leica M aspherical lenses.
d) The electronic contacts
inside the L-Mount enabling an easy and fast communication between camera and
lenses, as well as making possible a very quick autofocus and being prepared
for future new functions, updatings and improvements.
Dietmar Stuible,
designer of TL lenses for the Leica APS-C System.
© jmse
Therefore, Leica created a
wide range of TL lenses specifically designed and manufactured for the L Mount
and its APS-C cameras.
Most of these gorgeous
objectives like the Summicron-TL 23 mm f/2 ASPH (April 2014), the
Vario-Elmar-TL 18-56 f/3.5-5.6 ASPH (April 2014), the Super-Vario-Elmar-TL
11-23 f/3.5-4.5 ASPH (January 2015), the Apo-Vario-Elmar-TL 55-135 mm f/3.5-4.5
ASPH (January 2015), the Summilux-TL 35 mm f/1.4 ASPH (March 2016) and the
Apo-Macro-Elmarit-TL 60 mm f/2.8 ASPH (September of 2017) already existed
before the launching into market of the Leica CL and were initially coupled to
the also APS-C format Leica T (April 2014), Leica TL (November 2016) and Leica
TL2 (July 2017).
With those superb primes
and zooms for APS-C sensor and L-Mount, the Wetzlar based firm had paved the
way for the introduction of the Leica CL boasting interchangeable lenses and an
excellent electronic viewfinder, while the Elmarit-TL 18 mm f/2.8 ASPH
(November 2017) appeared coupled to the camera at the moment of its
presentation, setting up a new standard of compactness regarding camera
body/lens combination.
© Leica Camera AG
A NEW BREED OF EXCEPTIONAL
AF LENSES FOR THE LEICA APS-C SYSTEM AS A CORNERSTONE
The Leica APS-C System of
cameras and lenses which began in 2014 with the introduction of the Leica T
(winner of both the IF Gold Award in the Product Category and the Technical
Image Press Association 2015 Awards for Best Design) was significantly boosted
by Leica Camera AG in November 2017 with the presentation of the Leica CL
mirrorless boasting a built-in EVF.
Definitely, the German
photographic firm has strongly bet on this unique photographic system through
the Leica CL, a very compact digital camera with interchangeable lenses, oozing
remarkable beauty of design, minimalism concentrated on the essential things,
solid build, an excellent electronic viewfinder, first-string construction with
noble metals like in the top and bottom covers made of milled and anodized
aluminium, along with front and rear magnesium shells, as well as being hugely
convenient to use shooting hand and wrist.
And it has come up trumps
making it a sales success, something truly praiseworthy, because the APS-C
field is one of the most disputed arenas in the photographic market, with many
great cameras made by different firms and yielding truly professional image
quality, in addition to featuring oodles of cutting-edge electronic functions.
This unexpected success
has been truly impressive, since the German photographic firm had previously
three different systems of cameras and lenses being the world benchmarks in
their respective categories:
a) The Leica S System of
medium format cameras and AF lenses, with the S primes and S-Vario Zoom lenses
designed by Peter Karbe ( currently the foremost optical designer in the
world), the best objectives for MF ever made and delivering stratospheric image
quality.
b) The digital Leica SL
System made up by the Leica SL mirrorless EVF digital camera and its Leica SL
lenses and zooms, the best ones ever made for 24 x 36 mm format, designed by
Dietmar Stuible, with overall supervision of Peter Karbe and some insight by Sigrun
Kammans, also yielding stratospheric image quality, even the zooms.
Suffice it to say that the
Apo-Vario-Elmarit-SL 90-280 mm f/2.8-4 zoom renders an imaging performance
approaching very much the manual focusing Apo-Telyt-R 280 mm f/4, diffraction limited
at f/5.6.
And this deserves great
accolades from an optical and mechanical viewpoint, since the Leica SL primes
and zooms include the autofocus module increasing very much the designing
difficulties to get maximum image quality feasible while simultaneously keeping
a not excessively big size and weight.
c) The digital Leica M
System of 24 x 36 mm format rangefinder cameras and manual focusing M lenses,
embodied by the Leica M10, Leica M10-P and Leica M Monochrom, a prodigy of
compactness for its format, delivering exceptional image quality shooting
handheld with available light, particularly in dim conditions, an environment
for which it is optimized thanks to the very small size and weight of cameras
and lenses enabling to very comfortably shoot handheld and with outstanding
stability, so sharp pictures can be taken at very slow speeds of roughly up to
1/8 s
.
Thereupon, the superb
lineup of autofocus lenses created from scratch by Leica Camera AG for its
APS-C System of cameras featuring 23.6 x 15.7 mm sensor integrated within the
L-Mount, has been a pivotal factor for the success of the Leica CL:
© Leica Camera AG
- The 9 elements in 6
groups (two of them aspherical) Summicron-TL 23 mm f/2 ASPH ( equivalent to a
35 mm f/2 ASPH in 35 mm format). The jewel of the crown of the array of APS-C
System Leica-TL lenses, delivering stratospheric image performance, with an
optical quality between Walter Mandler´s non aspherical 6 elements in 4 groups
Summicron-M 50 mm f/2 Fourth and Fifth Versions and Peter Karbe´s 7 elements in
5 groups Apo-Summicron-M 50 mm f/2 ASPH.
An exceedingly compact
lens boasting a length to bayonet mount of 37 mm, a largest diameter of 63 mm
and a weight of 154 g.
It clearly outperforms the
superb 10 elements (two of them aspherical) in 6 groups Fujinon XF 23 mm f/2 R
WR lens for APS-C format, as well as being 26 g lighter and featuring one
element less in its optical formula, which is a remarkable tour de force
accomplished by the Wetzlar photographic firm.
Anyway, the quality /
price ratio of the Fujinon XF 23 mm f/2 R WR lens is virtually unbeatable.
On the other hand, the
bokeh rendered by the Summicron-TL 23 mm f/2 ASPH at f/2 and f/2.8 aperture is
by far the most beautiful among the lenses of its focal length and widest
aperture created for APS-C format hitherto, so it is a stellar performer for
creative pictures in which it is important to highlight main subjects or
products using very shallow depth of field with out of focus surroundings,
though the utterly metallic and excellent 11 elements in 8 groups (one of them
aspherical) Fujinon XF 23 mm f/1.4 R ASPH is superior when it comes to
generating selective focus, thanks to its widest f/1.4 aperture.
© Leica Camera AG
Besides, its tiny
dimensions, very light weight and focal
length equivalent to a 35 mm wideangle objective (the par excellence lens in
reportage photography) turn it into a great all around performing lens in such
different genres like street photography, travel, fashion (with wonderful film
like skin tones and highly useful ability to explore different planes of
sharpness), product imagery, architecture (its correction of distortion is
really impressive) and all kind of low light environments.
It goes without saying
that the mechanical construction of this lens is stunning and enables the
photographer to flawlessly use it for many years.
Its uniformity of
performance is truly commendable, with exceptional values of resolving power
and contrast between f/2 and f/8, without forgetting state-of-the-art coatings
and commendable control of chromatic aberrations.
© Leica Camera AG
- The 10 elements (four of
them aspherical) in 7 groups Vario-Elmar-TL 18-56 mm f/3.5-5,6 ASPH zoom lens
(equivalent to a 28-85 mm standard zoom in 35 mm format) yields exceptional
sharpness from edge to edge, high contrast, amazing richness of details and
priaseworthy microcontrast resulting in superb colours and depth.
It´s true that its
luminosity is relatively low, but it was necessary to preserve the camera /
body compactness, since a constant f/3.5 aperture ( let alone a f/2.8 one)
delivering this level of optical performance would have meant excessively large
dimensions and weight, together with a much steeper price.
© Leica Camera
AG
As a matter of fact, this
Vario-Elmar-TL 18-56 mm f/3.5-5.6 ASPH zoom lens features very small dimensions
(length to bayonet mount of 60 mm x largest diameter of 63 mm) and weight (256
g).
Obviously, it is not such
a perfect lens as the Summicron-TL 23 mm f/2 ASPH and it suffers from very
small levels of barrel and pincushion distortion, slight degree of chromatic
aberrations on corners and borders when shooting high contrast subjects and
field curvature, and it´s true that some in camera corrections are made,
particularly at the shortest range of the zoom (something nowadays common in
virtually every brand), but it doesn´t matter to practical effects, because
this zoom was designed with top image quality and outstanding beauty of bokeh
at the widest apertures of the medium and long focal lengths of its zoom range
as top goals.
© Leica Camera AG
- The 12 elements (four of
them aspherical) in 8 groups Summilux-TL 35 mm f/1.4 ASPH (equivalent to a 50
mm f/1.4 ASPH standard lens in 35 mm format) has a dazzling cosmetic appearance
and yields extraordinary values of resolving power, sharpness and contrast,
with a great evenness of performance between f/1.4 and f/5.6, its sweetest spot
being at f/4.
It´s a relatively big
(length to bayonet mount of 77 mm x largest diameter of 81 mm) and heavy (428
g) lens, weighing 93 g more than the Summilux-M 50 mm f/1.4 ASPH lightweight
black version and 32.4 g less than the Summilux-M 50 mm f/1.4 ASPH silver
version.
But it has paid off, since
the Summilux-TL 35 mm f/1.4 ASPH is incredibly sharp at all apertures and
across the frame, in addition to rendering true Leica colours and
microcontrast, with the added benefit of a very beautiful and creamy bokeh,
whose image aesthetics is related to the excellent Leica DG Nocticron 42.5 mm
f/1.2 for Micro Four Thirds format.
And it is important to
grasp a fundamental tenet as to this kind of highly luminous Leica TL lenses :
in the same way as happens with the Leica M lenses, they were designed and
manufactured to be mostly used at the widest apertures and only stopped down to
control depth of field.
And the most prominent
traits of this standard lens will be shown shooting wide open, because images
it delivers, even at f/1.4, are crisp.
Furthermore, it features
internal focusing, enabling an easy use of polarizers and graduated filters.
© Leica Camera AG
The anodized metal barrel
of this lens, available in silver or black colour, is simply gorgeous and very
sturdy.
On the other hand, its
resistance to backlighting and veiling flare is remarkable.
Regarding its bokeh at the
widest apertures, it is very nice and smooth, and in the same way as happened
with the Summicron-TL 23 mm f/2 ASPH, this lens boasts an impressive correction
of distortion.
Moreover, the short
telephoto nature inherent to this lens (equivalent to a 50 mm in 35 mm format)
and its large f/1.4 aperture turn it into a great objective for portraiture.
©
Leica Camera AG
- The 12 elements in 10
groups (one of them aspherical) Apo-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH
zoom (equivalent to a 80-200 mm in 35 mm format).
It is very small (length
to bayonet mount of 110 mm x largest diameter of 68 mm) and light (weight of
500 g) for the range of focal lengths it covers.
Its sharpness and contrast
at f/5.6, f/8 and f/11 approaches the one yielded by stellar M primes like the
Apo-Summicron-M 90 mm f/2 ASPH and the Apo-Telyt-M 135 mm f/3.4, while its
optical performance at f/3.5, f/4 and f/4.5 is excellent.
It´s true that its
relatively low luminosity and lack of any stablization makes that photographers
have to be careful in contexts where light conditions are dim. But that isn´t
an unsurmountable hindrance at all,
© Leica Camera
AG
since the very good high
iso capabilities of the Leica CL, with extraordinary image quality up to ISO
3200 and very good up to ISO 6400 can solve it in most situations.
In addition, the 135-200
mm equivalent stretch of this amazing zoom fills a gap not possible to cover
with Leica M cameras, whose rangefinder ability to accurately focus encompasses
up to roughly 135 mm focal length.
Though there have been
some voices suggesting that this is a great lens for sports and wildlife
photography, in my opinion that´s not true, because there are better choices
for this aim in the APS-C sphere from Fuji and in Micro Four Thirds scope from
Panasonic and Olympus, with superior AF speed and more comprehensive range of highly
luminous zooms and long telephotos for these photographic genres, including
equivalent to 300 mm and 400 mm supertelephoto lenses which can be conveniently
used shooting handheld.
Evidently, the image
quality delivered by the Leica CL in symbiosis with its TL primes and zooms is
second to none and its AF is very accurate, fast and reliable.
But nowadays Panasonic,
Olympus, Fuji and Sony mirrorless EVF cameras with Micro Four Thirds and APS-C
sensors get the upper hand in autofocus speed and tracking of moving subjects,
fundamental ingredients for action photography, whether sports or wildlife.
The Leica CL was not
designed to photograph fast action, which doesn´t mean that it couldn´t be made
getting very high marks in the hands of an experienced photographer.
© Leica
Camera AG
Therefore, the
Apo-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH zoom (equivalent to a 80-200 mm in
35 mm format) is with its uncompromising image quality (matching the best
primes in every focal length of its range, though with lower luminosity) a
sensational lens for landscapes, travel photography, pictures of details of
buildings and architectural edifices, portraits, etc, excelling at its amazing
versatility, exceptional sharpness and contrast, very natural skin tones, out
of focus areas nicely drawn with excellent 3D separation if the photographer is
able to find the best distances between subjects and backgrounds, and a
stunning homogeneity of optical performance in center, borders and corners of
the frame.
© Leica Camera AG
And of course, this zoom
is a true Leica lens, yielding not only the Leica look in pictures, but also a
bit muted colours more biased to Kodachrome aesthetic of image than the
widespread big saturation in them widespread in vast majority of lenses from
other respected brands, always understanding that saturation can be
susbsequently enhanced through computer after the photographic act.
In addition, this is a
truly apochromatic lens, so colour fringing has been reduced to negligible
levels, in the same way as any remaining residual aberration, id est, the
secondary spectrum, which becomes increasingly significant in telephoto lenses.
© Leica Camera AG
After using it in real
photography conditions, many professional photographers and connoisseurs have
wondered at the extraordinary optical performance of this zoom, in spite of its
relatively low luminosity and being coupled to a camera like the Leica CL
featuring an APS-C sensor, and have asked themselves how this is possible.
There are a number of
reasons for it, but one of the key factors is that when Leica Camera AG uses
the term " APO ", its criteria for that apochromatic correction on
the entire image circle are by far the most stringent in the photographic
industry regarding this aspect and go well beyond those set forth by the
classic definition of apochromatic correction.
As a matter of fact, after
watching some of the pictures made with the first prototypes of the 7 elements
in 4 groups Elcan-R 180 mm f/3.4 lenses used by the U.S Army in 1972 during the
Vietnam War, Walter Mandler, its optical designer at Ernst Leitz Midland,
Ontario (Canada) realized the huge potential that this true apochromatic
correction could have in future with technologies that didn´t exist at the
moment (and that had made to optimize the whole imaging performance of that
early version of the Apo-Telyt-R 180 mm f/3.4 for medium and long distances,
with a minimum focusing distance of 2.5 meters) not only for telephoto lenses
but also for zooms.
And in a conversation that
he had with the world-class expert in photographic Tom Abrahamsson in late
eighties in Canada, both of them coincided that XXI Century would see amazing
zooms yielding optical performance comparable to the best primes in every focal
length of its range, something that started to be utterly attained with the
extraordinary manual focusing 11 elements in 8 groups Vario-Elmarit-R 28-90 mm
f/2.8-4.5 ASPH produced between 2004 and 2009, which however incredible may
seem (that zoom was a masterpiece) was significantly improved by the stratospheric
18 elements (four of them aspherical) in 15 groups Vario-Elmarit-SL 24-90 mm
f/2.8-4 ASPH from 2015 and the 23 elements in 17 groups Apo-Vario-Elmarit-SL
90-280 mm f/2.8-4 from 2016, both of them autofocus and manufactured until
presently for the Leica SL full frame mirrorless EVF camera.
Suffice it to say that the
Apo-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH zoom for APS-C format, launched
into market in 2015, belongs to the early stage of that lineage of AF Leica
zoom lenses sharing the L Mount.
© Leica Camera AG
- The 14 elements in 11
groups (four of them aspherical) Super-Vario-Elmar-TL 11-23 mm f/3.5-4.5 ASPH
zoom (equivalent to a 17-35 mm in 35 mm format).
It is a very small (
length to bayonet mount of 77 mm / largest diameter of 73 mm ) and light (
weight of 386 g) angular zoom,
This is a wonderful lens
yielding extraordinary sharpness on the whole image surface, both in center,
corners and borders, even at the widest apertures, which is a remarkable
optical feat, because to create such a wideangle zoom lens with this level of
optical performance within compact dimensions and low weight is something
exceedingly difficult.
© Leica Camera AG
Both professional
photographers and advanced amateurs can get a great mileage of it in
architecture, landscape, detailed and expansive street views, group
photography, etc, as a very versatile zoom lens able to cover an ultra or more
moderately wide angle of view.
It lives up to the Leica
standard of quality, with an oustanding uniformity of performance between the
widest apertures and f/8, reaching its peak at f/5.6, though the improvement is
so small that to practical effects you will only gain depth of field on
stopping down.
There isn´t a perfect
lens, so to attain the near stratospheric image quality this objective
achieves, very slight barrel distortion between 11 and 14 mm had to be
preserved.
And something similar
happens regarding vignetting, with a value of 1.5 EV at widest f/3.5 aperture
in the 11 mm focal length.
© Leica Camera AG
This is a very compact
zoom lens for its ultrawide angle of view coverage, is very well built and it
is the benchmark in mechanical construction and image quality among this kind
of zooms for small sensors, even beating in resolving power, sharpness and
contrast the also extraordinary Olympus Zuiko Digital 7-14 mm f/4 ED zoom lens
(equivalent to a 14-28 mm f/4 in 24 x 36 mm format, introduced in September
2004) for Four Thirds System, with an optical formula featuring 18 elements in
12 groups (two of them being aspherical — the second one manufactured with a
topflight grinding, great diameter and a more than daring curvature along with
a remarkable thouroughness in the cutting of its borders, and the much smaller
sixteenth one made with ED glass — , two Super ED ones — the forth and the
sixth, the latter being a bit smaller — , and one ED — the fourteenth — ) and a
weight of 780 g, superior to the Leica zoom in the correction of geometric
distortion and in extremely low fall-off for such a wide coverage lens, with a
commendable homogeneity of very high definition and contrast between center and
corners, even at 7 mm (thanks to the preservation of some colour fringing in
the extreme short focal area).
© Leica Camera AG
- The 10 elements in 9 groups (four of them
aspherical) Apo-Macro-Elmarit-TL 60 mm f/2.8 ASPH (equivalent to a 90 mm in 35
mm format), with a length of 89 mm, a largest diameter of 68 mm and a weight of
320 g.
It is a super sharp lens
producing gorgeous colours, while its AF, though accurate, is slower than the
Summicron-TL 23 mm f/2 ASPH and the Summilux-TL 35 mm f/1.4 ASPH.
This lens is a stellar
performer in portraiture, landscape, fashion photography, product photography
and travels, as well as being an excellent lens for macro shots, taking
advantage of its minimum focusing distance of 16 cm.
© Leica Camera AG
The cosmetic beauty of
this entirely metallic objective, manufactured in aluminium, is a riveting
sight, as well as boasting a first-string mechanic construction.
On the other hand, the
creamy and very beautiful bokeh yielded by this telephoto lens at f/2.8 and f/4
enables any photographer to enhance his/her creativeness in all kind of
pictures in which can be important to make subjects stand out.
© Leica Camera AG
- The 8 elements in 6
groups (four of them aspherical) Elmarit-TL 18 mm f/2.8 ASPH (equivalent to a
27 mm lens in 35 mm format), an extremely compact and light lens,
© Leica Camera AG
featuring a length of 20.5
mm, a largest diameter of 62 mm and a weight of 80 g.
A Leica CL
coupled to the tiny Elmarit-TL 18 mm f/2.8 ASPH. On the right of the Leica logo
can be seen the Self-Timer LED / AF assist lamp.
© Leica Camera AG
It is the smallest
wideangle APS-C pancake lens in the world) and sets up a conspicuously compact
combo coupled to the Leica CL camera, resulting in an overall weight of only
483 g,
© jmse
enabling
to shoot hand and wrist with unmatched levels of comfort and great stability,
being a fantastic walk around choice for street photographyy, travel
photography and reportage, since the 28 mm focal length is one of the most
adequate for those genres, with the big depth of field inherent to its wide
coverage.
© Leica Camera AG
On the other hand, its
tiny focusing ring is placed around the lens front and works in a smooth way.
The AF is fast and very quiet.
© Leica
Camera AG
In addition, the optical
design of the Elmarit-TL 18 mm f/2.8 ASPH boasts an uncommon resistance to
flare, so it doesn´t need a lens hood.
Regarding falloff, it is
also very well controlled, with a little presence of it at f/2.8 and being
reduced to negligible levels from f/4 onwards.
The correction of
distortion is excellent, with exceedingly low values barely perceptible in
images.
In the same way, chromatic
aberrations are very well controlled even in the borders of pictures made in
high contrast scenes.
As to bokeh, it is very
beautiful, creamy and rounded, but with a 27 mm f/2.8 equivalent wideangle lens
like this, APS-C format capabilities when it comes to getting shallow depth of
field in creative photography are more limited than with 24 x 36 mm format.
In this regard, the entirely
metallic and excellent 8 elements (two of them aspherical) in 7 groups Fujinon
XF 18 mm f/2 ASPH, though not reaching the second to none levels of resolving
power, sharpness and contrast of the Elmarit-TL 18 mm f/2.8 ASPH, is a far
better choice to create selective focus, as well as featuring a praiseworthy
low weight (116 g) for its widest f/2 luminosity.
A VERY GOOD 24 MEGAPIXEL
APS-C DIGITAL SENSOR
© Leica Camera AG
The 24 megapixel 23.6 x
15.7 mm APS-C is the same excellent one featured by the previous Leica TL2.
And the symbiosis of this
24 megapixel APS-C sensor of the Leica CL mirrorless EVF camera with the Leica
TL lenses, both primes and zooms, has proved to be great.
Top area of the
Leica CL camera. From left to right can be seen the 2.36 megapixel electronic
viewfinder, the diopter dial, the accessory shoe, the setting wheel with its
button inside it, the LCD top display to control shooting parameters, the main
switch with shutter release button in its center, and the second setting wheel
with its setting wheel button in its middle. The design is a riveting sight
oozing top class minimalism everywhere, with a really laudable machining of
metallic surfaces, ascertaining an unswerving lust for build quality without
compromises.
© Leica Camera AG
For a professional
photographic tool like this, highly probably 24 megapixels is the ideal and
most balanced quantity, enabling to do top-notch quality enlargements up to 50
x 70 cm and even more on photographic paper and of course to get publishable
images in any illustrated magazine, including double page pictures.
Leica will never enter any
megapixel wars, since the number of them is not the key factor at all.
How many people will ever
make enlargements beyond 50 x 70 cm size ?
And there are further
reasons.
To name only an example,
it was apparent what happened when Canon launched into market its superb 50.6
megapixel Canon EOS 5DS and 5DS R reflex professional cameras, because the
stratospheric resolving power of the 24 x 36 mm format sensors featured by both
cameras needed really extraordinary lenses to match them, so the Japanese
photographic firm had to design improved new versions of already existing
professional lenses, resulting in the Canon EF 70-200 f/2.8 L IS III USM, Canon
EF 100-400 mm f/4.5-5.6 L IS II USM, the stratospheric Canon EF 11-24 f/4 L USM
or the well advanced in design Canon EF 24-70 mm f/2.8 L III USM still to be
presented.
As a matter of fact, vast
majority of highly experienced professional photographers working in sports,
wildlife photography, fashion photography and other genres, have kept on using
till now the 22.3 megapixel Canon EOS 5D Mark III, the 20.2 megapixel Canon
EOS-1 D X Mark II, the 30.4 megapixel Canon EOS 5D Mark IV, and the 20.8
megapixel Nikon D5, without forgetting the increasingly thriving 24.2 megapixel
Sony A9 mirrorless full frame EVF camera, also sporting exceptional virtues for
sports photography, in addition to boasting an incredibly accurate and fast AF.
Because a figure between
roughly 22 and 30 megapixels has proved to be the most balanced one to get the best
possible results as to resolving power, sharpness, dynamic range and image
quality at high and very high ISOs.
© Leica
Camera AG
Therefore, the 24
megapixels of the Leica CL APS-C sensor are more than enough to attain really
professional image quality, with the added advantage of the lack of optical
low-pass filter for maximum image resolving power.
Regarding the manufacturer
of this excellent APS-C sensor of the Leica CL, there isn´t official
information about it, but hints suggest that it could be an improved version of
the 24 megapixel APS-C one featured by a lot of mirrorless EVF cameras from
other brands and optimized to get the best feasible optical performance with
Leica TL and M lenses.
STATE-OF-THE-ART MAESTRO
II DSP
© Leica Camera AG
It is the same one
originally built for the 24 x 36 mm format Leica SL mirrorless EVF camera,
being very fast and getting extremely efficient image noise reduction easiness,
being able to handle sensitivity ranges between ISO 100 and ISO 50,000.
And that amazing speed
makes possible to attain a maximum burst shooting of 10 images per second, in
addition to enable that the memory buffer can hold up to 33 pictures at a time
in a combined DNG RAW format / JPEG, and up to 140 photographs shooting in
JPEG.
EXTRAORDINARY RESULTS WITH
LEICA M LENSES THROUGH ADAPTER
Albeit the optical and
mechanical quality of the current lineup of Leica TL primes and zooms
specifically designed for APS-C sensor within L Mount almost leaves nothing to
be desired, it isn´t less true that there is a very interesting choice of
coupling the Leica CL through Leica M-Adapter L to the
© Leica
Camera AG
superb Leica M lenses,
specially those ones featuring widest apertures between f/1.4 and f/3.4, which
have proved to work like a charm in symbiosis with its 24 megapixel 23.6 x 15.7
mm sensor:
© Leica Camera AG
- The Summicron-M 28 mm
f/2 ASPH, equivalent to a 43 mm f/2 lens, with a weight of 256 g.
- The Summilux-M 35 mm
f/1.4 ASPH, equivalent to a 53 mm f/1.4 lens, with a weight of 314 g.
- The Summicron-M 35 mm
f/2 ASPH, equivalent to a 53 mm f/2 lens, with a weight of 255 g.
Coupled to a
Leica CL camera, the Summilux-M 50 mm f/1.4 ASPH turns into an exceptional 75
mm f/1.4 lens for portraits, fashion photography, product photography and all
kinds of pictures in which can be relevant to highlight the main subjects or
objects using the largest apertures, while simultaneously rendering the
surrounding areas out of focus with very beautiful and smooth bokehs. © Leica
Camera AG
- The Summilux-M 50 mm
f/1.4 ASPH equivalent to a 75 mm f/1.4 lens, with a weight of 335 g.
© Leica Camera
AG
- The Summicron-M 50 mm
f/2, equivalent to a 75 mm f/2 lens, with a weight of 195 g Version 4 and 242 g Version 5.
- The Apo-Summicron-M 50
mm f/2 ASPH, equivalent to a 75 mm f/2 lens, with a weight of 300 g.
- The Apo-Summicron-M 75
mm f/2 ASPH, equivalent to a 115 mm f/2 lens, with a weight of 430 g.
- The Apo-Summicron-M 90
mm f/2 ASPH, equivalent to a 138 mm f/2 lens, with a weight of 500 g.
5 elements in 4
groups Apo-Telyt-M 135 mm f/3.4, an extraordinary medium telephoto lens. The
1.53 crop factor of the Leica CL camera turns it into a formidable 206 mm f/3.4
lens greatly expanding its reach beyond the 135 mm focal length limit of the 24
x 36 mm Leica M cameras with their optical rangefinder, thanks to the excellent
electronic viewfinder of the APS-C format Leica CL mirrorless EVF camera. ©
Leica Camera AG
- The Apo-Telyt-M 135 mm
f/3.4, equivalent to a 206 mm f/3.4 lens, with a weight of 450 g.
All of them yield
exceptional image quality attached to the Leica CL and are very compact and
light for their luminosities, flawlessly matching the very small dimensions and
light weight of the Leica CL mirrorless EVF camera.
EXCELLENT IMAGING
PERFORMANCE WITH COSINA VOIGTLÄNDER LENSES IN M MOUNT THROUGH ADAPTER
The manual focusing Cosina
Voigtländer lenses in Leica M mount are a second alluring option to attach to
the Leica CL, since these excellent objectives feature a sterling optomechanical
quality/price ratio, and amongst them stand out:
© Cosina Voigtländer
- The Hyper Wide Heliar 10
mm f/5.6, an impressive rectilinear lens equivalent to a 15 mm f/5.6, with a
weight of 312 g.
© Cosina Voigtländer
- The Ultron 21 mm f/1.8,
equivalent to a 32 mm f/1.8 lens, with a weight of 412 g.
- The Ultron 28 mm f/2,
equivalent to a 43 mm f/2 lens, with a weight of 244 g.
© Cosina Voigtländer
- The Nokton II 35 mm
f/1.2, equivalent to a 53 mm f/1.2 lens, with a weight of 470 g.
© Cosina Voigtländer
- The Nokton 35 mm f/1.4,
equivalent to a 53 mm f/1.4 lens, with a weight of 200 g.
- The Ultron 35 mm f/1.7,
equivalent to a 53 mm f/1.4 lens, with a weight of 238 g.
- The Ultron 35 mm f/2,
equivalent to a 53 mm f/2 lens, with a weight of 170 g.
- The Nokton 40 mm f/1.2,
equivalent to a 61.2 mm f/1.2 lens, with a weight of 315 g.
- The Nokton 40 mm f/1.4,
equivalent to a 61.2 mm f/1.2 lens, with a weight of 175 g.
© Cosina Voigtländer
- The Nokton 50 mm f/1.1,
equivalent to a 75 mm f/1.1 lens, with a weight of 428 g.
© Cosina Voigtländer
- The Nokton 50 mm f/1.2,
equivalent to a 75 mm f/1.1 lens, with a weight of 344 g.
© Cosina Voigtländer
- The Nokton 50 mm f/1.5,
equivalent to a 75 mm f/1.1 lens, with a weight of 220 g.
© Cosina Voigtländer
- The Heliar 75 mm f/1.8,
equivalent to a 115 mm f/1.8 lens, with a weight of 427 g.
Moreover, the Leica CL can
also be coupled through adapter to the extraodinary manual focusing Leica R
lenses, many of which are still the optomechanical world benchmarks for 24 x 36
mm format reflex cameras in their focal lengths and luminosities, like the
Super-Elmarit-R 15 mm f/2.8 ASPH (equivalent to a 23 mm f/2.8 lens), Elmarit-R
19 mm f/2.8 Version 2 (equivalent to a 28 mm f/2.8 lens), the Summilux-R 80 mm
f/1.4 (equivalent to a 120 mm f/1.4 lens), Apo-Macro-Elmarit-R 100 mm f/2.8
(equivalent to a 150 mm f/2.8 lens), the Apo-Summicron-R 180 mm f/2 (equivalent
to a 270 mm f/2 lens), the Macro-Elmarit-R 60 mm f/2.8 (equivalent to a 90 mm
f/2.8 lens), Vario-Apo-Elmarit-R 70-180 mm f/2.8 (equivalent to a 105-270 mm
f/2.8 lens), the Apo-Summicron-R 90 mm f/2 ASPH (equivalent to a 135 mm f/2
lens), the Apo-Telyt-R 280 mm f/4 (equivalent to a 420 mm f/4 lens) and others.
FUTURE OF THE LEICA APS-C
SYSTEM
The APS-C format arena of
mirrorless cameras and lenses is one of the most disputed ones of the
photographic market.
And there have been two
firms mostly ruling the roost in this scope until now:
a) Fujifilm, with its
Fujifilm X-series of mirrorless EVF cameras since it launched into market the
Fujifilm X-100 in March 2011, which would be subsequently followed by such
great cameras like the Fuji X-Pro1 (2012), Fuji X-T1 (2014), Fuji X-Pro2
(2016), Fuji X-T2 (2016), Fuji XT-3 (2018), Fujifilm X-T3 and others, featuring
the excellent X-Trans APS-C CMOS sensor.
In addition, the lineup of
lenses manufactured by Fuji for its APS-C sensor cameras is by far the most
comprehensive in this sector, with sixteen primes and eleven zooms, which makes
up a total of 27 lenses, many of whom are excellent and boasting outstanding
optical performance/price ratio.
Besides, the Japanese firm
has done a great effort, designing and manufacturing two 56 mm f/1.2 lenses
(equivalent to 84 mm), a 16 mm f/1.4 (equivalent to a 22.4 mm), a 23 mm f/1.4
lens (equivalent to a 52 mm f/1.4 lens), a 8-16 mm f/2.8 zoom (equivalent to a
12-22.4), a 16-55 f/2.8 zoom (equivalent to a 22.4 x 82 mm), a 50-140 mm f/2.8
zoom (equivalent to a 75-210), so with these AF primes and zooms it has got
some advantage on Leica regarding highest luminosities, in addition to an
exceptional 200 mm f/2 supertele lens (equivalent to a 300 mm f/2) which goes
100 mm beyond the maximum reach of the Apo-Vario-Elmar TL 55-135 mm f/3.5-4.5
ASPH zoom (equivalent to a 80-200 mm) and with much wider aperture.
Moreover, many of these
lenses offer 4-4.5 stop optical stabilization through the interaction between
advanced linear motor unit for focusing and linear motor unit for OIS.
b) Sony (which has clearly
devoted most of its resources and ingenuity to its superb line of mirrorless 24
x 36 mm format EVF Alpha series, of which the 42.2 megapixel Sony Alpha 7RIII
has been a tremendous success since its introduction on October 25, 2017, with
amazing level of compactness only second to the analogue screwmount Leica
mirrorless with rangefinder cameras in this regard and delivering exceptional
image quality thanks to its state of the art sensor, and which will attain the
best possible results and handheld shooting convenience coupled to Leica M
lenses through adapter to E-Mount, as well as matching the tiny dimensions of the
camera), having manufacture hitherto excellent cameras like the 24 megapixel
Sony Alpha 5100, Sony Alpha 6000, Sony Alpha 6300, Sony Alpha 6500, Sony Alpha
6400 (a great camera, whose impressive speed and accuracy of autofocus,
particularly the AF tracking with moving subjects is almost on a par with the
full frame professional reflex cameras from Canon and Nikon), etc.
Highly sofisticated
cameras, many of them sporting breakthrough electronic capabilities like the 4D
Focus with improved predictive autofocus, sensor shift image stabilization and
others.
And in the same way as
happens with the Fujifilm APS-C cameras, they offer an excellent quality /
price ratio.
© Leica Camera AG
Therefore, it seems
incredible that Leica, whose market experience in the APS-C domain is
relatively recent and dates back to 2014 when it introduced the Leica T and the
L Mount, can compete in this field with the best APS-C format cameras from Fuji
and Sony (featuring a host of electronic breakthroughs and functions) and with
the added theoretical disadvantage of its TL lenses lacking any stabilization
system.
But it can do it, with the
Leica CL, because there are significant aspects in which this camera is
nowadays the reference-class photographic tool in the APS-C product segment:
© Leica Camera AG
a) The beauty of design
and contours, an area in which Leica has traditionally been an international
driving force. In this regard, the gorgeous lines and appearance of the Leica
CL, a highly stylish camera, are a relish to watch, being both modernist and
classical.
b) The constructive
quality of materials. The Leica CL is entirely metallic, with the body made of
magnesium, while top and bottom plates are manufactured in anodized aluminium,
so it is a very sturdy camera that will keep its enticing cosmetic appearance
for many years of intensive use.
© Leica
Camera AG
c) The second to none
optical quality of Leica TL primes and zooms. Leica has clearly opted for
getting maximum image quality feasible, with lenses whose size and weight match
as much as possible the exceedingly small dimensions of the Leica CL, so widest
apertures of TL primes range between f/2 and f/2.8 (with the exception of the Summilux-TL
35 mm f/1.4 ASPH, equivalent to a 50 mm f/1.4), while TL zooms feature largest
luminosities between f/3.5 at their shortest range and f/4.5 or f/5.6 at their
longest one.
And in spite of the
somewhat limited range of seven native TL lenses (four primes and three zooms),
if we add to it the further possibility of coupling the Leica CL camera to the
highly luminous Leica M and Voigtländer lenses with M mount through adapter,
the available choice of superb lenses for this very small and light photographic
tool becomes really extensive.
d) The lack of any system
of optical image stabilization has enabled Leica to design the extraordinary TL
primes and zooms without any compromise,
© Leica Camera AG
yielding exceptional image
quality, not only regarding admirable levels of resolving power, sharpness and
contrast for such a small APS-C sensor, but also with regard to very nice and
smooth bokeh, true Leica aesthetics of image, etc.
© Leica Camera
AG
To create and manufacture
lenses with this level of optical performance including OIS would have meant
compromising the image quality desired by Leica Camera AG, the dimensions and
weight would have increased, the production cost would have significantly
soared and the price for customers would have been higher.
And in my opinion, this
absence of image stabilization isn´t any problem in real photography with the
Leica CL, since its capabilities shooting handheld are exceptional, even
beating the 64% heavier Leica M10 and M10-P (two great cameras in this aspect,
hugely optimized to get pictures hand and wrist), and with the invaluable help
of its remarkable performance at high sensitivities up to ISO 6.400.
e) The product
personality. The Leica CL is a unique camera, with character to spare and a
feel of solidness and reliability on its whole surface quickly conveyed to any
photographer using it.
f) An exceedingly accurate
contrast detection phase AF. Priority has been given to precision over speed.
It doesn´t mean at all
that Leica TL lenses be slow.
As a matter of fact, they
are very fast, but Fuji and Sony get the upper hand in this regard within the
APS-C environment, though the reference-class firms of the mirrorless EVF
photographic market with small sensors in terms of AF speed and accuracy are
Panasonic with its formidable Panasonic G9 Micro Four Thirds camera and Olympus
with its OM-D E-M1 Mark II and OM-D E-M1X Micro Four Thirds cameras.
g) Leica TL primes and
zooms have been designed in Germany and manufactured in Japan, with the
exception of the Summilux-TL 35 mm f/1.4 ASPH and the Macro-Elmarit-TL 60 mm
f/2.8 ASPH, made in Wetzlar.
All of them have been
built with Leica manufacturing standards, very stringent tolerances,
© Leica Camera AG
© Leica Camera AG
impressive craftsmanship
and using
© Leica Camera AG
© Leica Camera AG
state-of-the-art machines,
with an exhaustive quality control unit by unit.
©
Leica Camera AG
h) Leica TL primes and
zooms have been created to deliver exceptional optical performance under
various image conditions.
Hundreds of different
tests were made far beyond the typical MTF charts, with objectives being put to
their paces in a number of places and climatic contexts.
i) Very elegant
minimalism. The Leica CL is a camera with an uncluttered design, both in its
shapes, its intuitive menus and in its very small quantity of dials, only the
necessary ones, to foster the taking of decisions by the photographer.
l) The Leica CL has
thoroughly been designed in such a way that the photographers can do everything
without taking their eyes from the viewfinder, so they won´t have to disengage
to look for any button or dial.
© Leica Camera AG
m) The colours yielded by
the Leica TL lenses, particularly the primes, are really gorgeous and make a
difference.
Once more, Leica shows its
immense optical know-how in this side in which it had already achieved landmark
accomplishments, even in the smaller Micro Four Thirds Format, with its
state-of-the-art Leica DG Elmarit 200 mm f/2.8 Power O.I.S (equivalent to a 400
mm lens) coupled to the Panasonic G9 camera.
Whatever it may be, and in
spite of the fierce competition in this product segment, in my humble opinion
the Leica APS-C System of Mirrorless Cameras and Lenses has got a very
promising future ahead and is now well grounded
In addition to
impeccably work with the native AF TL lenses, the Leica CL (evolutive pinnacle
of the German photographic firm APS-C System which was born in 2014) has proved
to also admirably operate coupled to Leica M lenses through adapter and makes
up a very good backup to the Leica M10, because the controls layout is very
similar and photographers can feel really comfortable, without a protracted
learning curve. As a matter of fact, the Leica CL is a kind of Mini Leica M in
a number of aspects.
© Leica Camera AG
with the Leica CL, a
gorgeous minimalist camera in which Leica Camera AG has brought to fruition a
very special professional photographic tool oozing its firm ethos, keeping
controls and menus to a minimum, with everything instantly and easily
accessible, and has managed to create a not massive but loyal market niche of
customers having a penchant for obtaining great images, relishing a commendable
user experience, engineering at its highest level and leveraging the
reference-class optomechanical performance of the autofocus Leica TL lenses
within the APS-C mirrorless EVF scope, shooting handheld with unmatched levels
of comfort, in addition to experiencing the unique value of emotions embodied
by its timeless design and the tactile feelings of the first-class materials
with which it is built.
For other articles on this blog please click on Blog Archive in the column to the right
_____________________________________________________________________
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