By David Farkas, Leica Store Miami
When the Leica CL was
introduced a little over a year ago, the APS-C mirrorless camera joined an
already full Leica roster, sharing many similarities with its siblings.
Functionally equivalent to the then very recently launched TL2, but with
familiar design elements of the more traditional M, the CL is an amalgam of
classic and modern. While the TL2, with its sleek unibody construction and
touchscreen UI, embodies minimal and futuristic, both in form and function, the
CL reminds us of Leica’s past, albeit with a contemporary twist. Even though
the CL evokes nostalgia of the Leica screw mount cameras from the 1930s, it
also bears unmistakable resemblances to its modern-day kin, the Q and M10.
The likeness isn’t
accidental
Sporting the same
excellent 24-megapixel APS-C sensor, Maestro II processor and L mount found in
the TL2, the CL goes the more traditional body design route with three rear
buttons and direction pad like its big brother, the M10. Its machined aluminum
top and bottom plates, rounded sides and smooth leatherette covering, all
contribute to the Leica iconic aesthetic. And, instead of needing an add-on EVF
like the TL2, the CL has one built-in, with the same resolution as the external
2.4 MP Visoflex 020 that’s used on the M10, as well as the TL2.
CL on left, TL2 on right
All in all, the CL seems
like a natural evolution for Leica. And, perhaps for the first time, Leica
finally has an entry level, at least for Leica, interchangeable lens system
camera. At $2,795, the CL is less than half the price of an M or SL. This is an
area where Leica has historically struggled, namely, to have a more mainstream,
more affordable offering to bring new users into the Leica fold, while at the
same time appealing to existing owners.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/7.1, ISO 6400
To me, as a long-time
Leica user and frequent globetrotter, the CL looked like it might be the
perfect travel camera. Of course, to be sure, I’d have to put it through its
paces. And that ended up taking much longer than I could have imagined when I
first set out to do so.
A long term review
I’ve reviewed almost every
Leica digital camera going back to the M8. Usually my review process follows a
general timeline. I shoot intensively with the camera for anywhere from a few
days to a couple weeks, often traveling specifically to test cameras so that my
photography remains fresh and simulates real world shooting. In my opinion, uninspired
shots in an office, or down the street, don’t really show off the range of
capabilities, or the limitations of a camera. And, generally, a couple hours
aren’t long enough to develop a well-formed opinion.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/4, ISO 640
The ensuing weeks are
dedicated to processing and evaluating image quality, color, dynamic range,
file malleability and overall results. Once I’ve considered the shooting
experience, assessed the subsequent post processing, and worked on forming my
analysis, I then sit down to write and edit the actual article. The entire
undertaking usually requires around a month. Sometimes more, sometimes less.
This review was different.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/3200th @ f/2.8, ISO 100
I traveled an enormous
amount this past year. Between leading photography workshops around the world,
the usual family vacations, and multiple trips to Germany covering Photokina
and the Leitz Park III opening, I haven’t been home for more than a couple
weeks at a time before taking off again. And, when time is so short, daily
priorities often take precedence over more involved projects like this review.
Leica CL with 35mm
Summilux-TL ASPH
1/3200th @ f/3.2, ISO 100
So, on the one hand, I
regret not being timelier to align closer to the launch of the CL, but, on the
other, the additional time has given me an opportunity to settle in with the
camera and use it on more occasions. And, a bit of a spoiler alert here, I’ve
been using the CL as my daily driver for the past year.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/1.4, ISO 1250
Leica APS-C System – A
brief history
To fully understand
Leica’s approach to APS-C in general, and the CL specifically, we need to look
back ten years and see how the concept came to be. Leica started the large
sensor in a small camera movement in late 2009 when they shoehorned a
DSLR-sized APS-C sensor inside the body of a compact camera and coupled it with
a high quality 35mm (equiv.) prime lens. The Leica X1, while not a runaway
success for the company that created it, set the stage for larger sensor,
compact cameras. Prior to Leica’s foray, most mainstream camera manufacturers
were using much smaller sensors, ranging in size from 2/3 inch to Micro Four
Thirds. At the time, only full-featured DSLR cameras used the larger APS
sensors.
X1 – 2009
The original X1 featured
an APS-C 12 MP CMOS sensor paired with a 35mm f/2.8 (equiv.) lens. With a body
size and design reminiscent of the original screw mount Leica cameras of the
1920, 30 and 40s, the X1 was an incredible first effort. And while image
quality was quite good for the time, the X1 fell a bit short with AF
performance and overall speed.
Three years later, the X2
launched and was a vast improvement over its predecessor. A newer, higher
resolution 16.1 MP sensor took the place of the original 12 MP and offered
superior performance in just about every category. When I reviewed the camera,
I found the X2 to be incredibly versatile, with just a few shortcomings. You
can read my review here: Leica X2 Review: A Weekend in Berlin
Despite the X2’s
improvements, users overwhelmingly requested that Leica incorporate a zoom
offering into the X line. So, just a year after the X2 introduction, in
mid-2013, they did. The X Vario featured one of the best zoom lens designs to
ever come out of the optics department at Leica.
But the otherwise
exceptional 28-70mm lens was hampered by its modest f/3.5-6.3 maximum variable aperture.
Would-be users were put off by the slow zoom, and decades of mass-market
conditioning that slow apertures meant low quality kept many away. I too was
guilty of initially holding a less-than-wonderful opinion of the camera when it
was first announced.
Leica X Vario (right) was
a big jump from the X2 (left)
The X Vario, though,
brought significant improvements including a larger and higher resolution LCD
screen with a UI that was more in line with the then-current M240, along with
lovely manual zoom and focus rings on the lens. After some real-world usage, I
changed my tune on the X Vario, and ended up carrying one in my everyday bag as
a go-to for a couple years. You can read my review here: Leica X Vario (Typ107) Review: Looking Beyond the Specs
X113 – 2014
Even after the X Vario
developed somewhat of a cult following, the pendulum had already swung back the
other way. Users decided that they didn’t really want a zoom after all, if
doing so meant settling for a slow variable aperture. So, in 2014, the X saw another
significant update. The X (Typ 113) adopted the X Vario’s body, UI design, and
the same well-regarded 16.1 MP Sony chip. But, adorning the front of the camera
was a faster, 35mm f/1.7 (equiv.) Summilux. While I didn’t get around to a full
review of the X113, my wife used one as her main camera until last year, when
she traded up to a Leica Q. Truth be told, she still misses her X
sometimes.
Anyone that claims Leica
doesn’t listen, or respond, to user input, would be completely off-base. In
fact, if anything, Leica could be faulted for being too responsive. Even with
the continued and rapid development of the X line, the X113 still struggled
with the limitations of an average off-the-shelf processing chip, plaguing
generation after generation with somewhat sluggish performance. And despite the
super-fast 35mm prime lens, pleas for interchangeable lenses started to become
increasingly persistent in the Leica user community.
T 701 – 2014
All the while, the APS
team at Leica was hard at work behind the scenes. Around the same time as the
X113 came to market, the T (Typ 701) made its debut. A dramatic departure from
the iconic and classic designs of the past, the T was a work of industrial art.
With its sleek machined
aluminum unibody shell and giant touchscreen occupying the entire back of the
camera, the T looked like the lovechild of a MacBook Pro, a smartphone and a
Leica camera.
Under the hood, many of
the same internals from the X113 found a new home, including the 16.1 MP CMOS
chip. With a near-identical imaging chain, the T offered up image quality equal
to the X113 but opened the door for interchangeable lenses with a brand-new
mount. You can read my review here: Leica T (Typ 701) Review
At the time, the move was
a bit surprising, especially for a small company like Leica. Between the M, S
and new T mount, Leica would be developing and producing optics in three
separate mounts. Little did we know at the time, that a fourth line of full
frame lenses for the SL system were around the corner, or that the T/L mount
was developed with full frame cameras in mind from its inception. Nor did we
know that the development would eventually lead to the recently announced
L-Mount alliance with Panasonic and Sigma.
At the L-Mount Alliance
announcement during Photokina 2018
Once again, the T
represented an amazing first effort for an interchangeable mirrorless camera.
Innovative touchscreen UI, ultra-clean and original design, excellent lenses,
and solid image quality all seemed to indicate a big potential hit for Leica.
The T was machined from a
solid block of aluminum
And yet, the T never
really hit its stride. The camera’s complete departure from the traditional
Leica design language was both immediately intuitive and somewhat unrelatable.
Besides the ergonomic considerations of a buttonless camera, there were
grumblings of Leica continuing to use the same 16MP sensor from the X2, which
was no longer cutting edge.
Q – 2015
The following year, in
2015, Leica launched the Q (Typ 116) and everything seemed to fall into place.
Full frame 24 megapixel sensor, Maestro II processing, built-in high-res EVF,
touchscreen, manual controls and fast 28mm f/1.7 lens hit all the right notes.
The camera has become one of Leica’s most popular releases ever. You can read
my review here: Leica Q (Typ 116) Review: A Full-Frame Mini M
Meanwhile, the APS system,
which laid so much of the groundwork necessary for the creation of the Q,
languished. Leica APS system product manager Maike Harberts and her team wasn’t
sitting still, or throwing in the towel. They continued to evaluate user needs
and build upon prior efforts. And as a result of that hard work, 2017 was going
to be the year of the Leica APS system’s triumphant return.
TL2 – 2017
First came the TL2, a
massive upgrade from the first-generation T and the 2016 TL refresh/rebrand. A
brand new 24MP CMOS sensor coupled with Leica’s speedy Maestro II processor
brought the needed image quality and responsiveness to make the TL2 what many
wanted in the first go-around. During my testing of the TL2, I was extremely
impressed with camera. But the minimalist design hadn’t caught on in a big way.
Users still weren’t completely satisfied. They wanted a return to a traditional
interface. And a built-in EVF, not the add-on option of the TL2.
CL – 2017
As 2017 came to an end, a
completely new design launched. The CL, a product of continued innovation and
relentless chasing of evolving customer tastes, seemed to finally achieve a
magical mix of features, interface, image quality, ease of use and iconic
design.
Now that we’re all caught
up, let’s dive a bit deeper into the details. First, a look at the
specifications in detail, then at the control concept and how the camera is
designed to be operated.
Physical overview
The CL shares identical
body dimensions with the X113 and the X Vario, which in turn are the same size
as the original Leica screw mount cameras like the Leica I, II and III. The
body is thick enough to be held comfortably, with pleasant rounded ends, but
certainly not chunky. Some mirrorless cameras on the market err on the side of
being too thin, or too tiny in general, making them uncomfortable to hold and
leading to front-heaviness with larger lenses.
Leica has avoided these
pitfalls. Rather, the TL/CL lenses balance nicely, as do M lenses when used
with the M Adapter-L. Smaller SL lenses like the new range of Summicron-SLs
work nicely too. The SL zooms, which offer full functionality on the CL, dwarf
the camera. Unless you have a very specific reason for using the SL zooms on
the CL, which I’ll cover a bit later, I wouldn’t recommend using them.
The top and bottom plates
are made of machined aluminum, finished in either silver chrome or black
anodized depending on the model. Both look and feel wonderful. The magnesium
chassis is wrapped in luxurious, yet durable black leatherette, providing a
solid grip even in wet conditions.
Spec Overview
- 24MP APS-C Sensor
- Maestro II processor
- Leica L mount
- 10 frames per second max burst
- ISO 100 – 50,000
- 1/8,000 sec mechanical shutter
- 1/25,000 sec electronic shutter
- 2.36 MP internal EVF
- 3-inch touchscreen
- Wi-Fi
Resolution
A quick look over the
specs shows a capable and modern camera. Twenty-four megapixels is more than
enough for most photographic applications and still allows for a bit of
cropping. In my year-long usage, I’ve never felt held back by the resolution
like I had in the past with some of the earlier X cameras.
Leica CL with 60mm APO-Macro-Elmarit-TL
ASPH
1/160th @ f/8, ISO 500
Frame Rate
At 10 frames per second,
the CL is quick shot-to-shot, with minimal viewfinder blackout and no
hesitation when snapping the shutter release. That high FPS also allows fast
refresh in the EVF and quick autofocus. Both are highly dependent on how
quickly the sensor data can be read out and processed.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 17mm
1/400th @ f/8, ISO 100
Shutter
The 1/8,000 sec mechanical
shutter is welcome here, especially for a compact APS-C camera, but the
1/25,000 sec electronic shutter is downright awesome. Even back in my film
days, I tended to tune out the race to higher and higher max shutter speeds, as
I just didn’t see much utility there. Ah, how times have changed. After having
taken advantage of higher speeds, I’ve realized this is a must-have feature.
It’s enabled me to use the 35mm f/1.4 TL lens wide open much of the time, even
in extremely bright light, without fiddling with a front-mounted ND filter.
Leica CL with 35mm
Summilux-TL ASPH
1/16,000th @ f/2, ISO 100
The shutter is user
selectable. For just about all my shooting, I leave it set to Extended mode,
which uses the mechanical shutter up to its max speed then seamlessly switches
to electronic when higher speeds are required.
Do be aware that you’ll
want to avoid shooting quickly-moving subjects with the electronic shutter.
Otherwise, even with the rapid refresh rate of the sensor, you might end up the
victim of the rolling shutter effect, with verticals magically transforming
into diagonals. I’ve yet to see this in my year of shooting, but my photography
is largely static.
Leica CL with 35mm
Summilux-TL ASPH
1/12,000th @ f/1.6, ISO
100
ISO Range
The ISO range of 100 to
50,000 is adequate. Given my frequent use of the 35mm f/1.4, I’ve rarely found
myself wishing for a broader ISO range. And, as a quality junkie, I’ve shied
away from using the very top of the range. Most everything has been under 6400.
I’ll get into low light performance and noise later in more detail.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/1.4, ISO 4000
EVF
A mirrorless camera’s user
experience relies heavily on the EVF and the CL doesn’t disappoint. The 2.36
megapixel EVF is large, bright and clear. The generously sized eyecup offers
plenty of eye relief and even with my glasses, I never had any issues with
losing visibility into the corners. Objectively, I like this EVF better than
the higher resolution EVF found in the Q. Likewise, I’d rate it better than the
Visoflex 020 used on the TL2 and M10. Currently, out of the entire Leica
lineup, I’d only consider the SL’s 4.4 MP EVF superior. It’s a very good EVF.
For those with mild
prescriptions wanting to shoot without glasses, there’s an adjustable diopter
control, to the right of the viewfinder. The small wheel pulls out to dial in
your setting, then clicks back to lock in place. For anyone who has
inadvertently knocked the diopter correction out on their EVF2 or Visoflex 020
(meekly raises hand, while seeing everyone else doing the same), the lock is a
welcome addition.
The eye sensor switches
quickly and effortlessly between LCD and EVF.
Rear LCD
The 3-inch rear LCD is
about the same as the ones on the Q and SL. It’s got about a million pixels.
It’s a touchscreen. Not really much else to say here, except that I recommend
one of the Leica display protector sets for $25. For most of my own shooting, the
EVF just offers such a wonderful experience that I rarely use the screen at
arms’ reach. But for review and menu navigation, it works quite well.
Battery
The CL utilizes the LeicaBP-DC12 rechargeable lithium ion battery, which is also used in the Q and the
V-Lux 114. Battery life is decent. Expect to get a few hundred shots on
average. I usually carry one or two extra in my camera bag.
And with a Nitecore ULQUSB charger, I’m even able to charge my spare battery while walking around, by
using a USB power bank. My favorite is the MyCharge HubPlus 6700mAh. I can
charge up the CL battery and my iPhone at the same time, then just flip out the
AC power prongs and plug into a wall outlet to recharge. At $60 for the charger
and $70 for battery bank, this combo will run you just a bit more than the cost
of an extra BP-DC12 battery. And, you can charge your phone at the same time.
The Nitecore ULQ USB
Charger plugged into a MyCharge HubPlus can keep your CL battery charged on the
go
Wi-Fi and Compatibility
with Leica FOTOS App
Like all modern Leica
digital cameras, the CL comes standard with built-in Wi-Fi capability. The
camera creates its own network and SSID, so you don’t have to worry about being
near a hot spot. Pairing the two is simple with Quick Connect. Just scan the QR
code displayed on the LCD screen in the WLAN menu and the Leica FOTOS app takes
care of everything.
In addition to offering
remote camera control, the Leica FOTOS app allows you to browse photos on your
SD card and download DNGs or JPGs directly to your phone. Combine with Adobe
Lightroom CC Mobile, and you’re able to process images on the go, without
needing a computer or card reader. The mobile version fully supports DNG files
from the CL.
I wouldn’t recommend this
workflow for an entire trip or outing, as transferring over Wi-Fi is much
slower than working off the physical media. But, let’s say you’re waiting for
your lunch in a café. Launch the FOTOS app, pick out a few keepers, do a quick
edit in LR Mobile, and share them on social media before your meal
arrives.
Simplicity – Das
Wesentlichte
As with all Leica cameras
in recent history, the designers strive to deliver Das Wesentlichte, or the
essentials. To that end, you won’t find extraneous buttons and switches on the
CL. Minimalism and intuitive operation abound in a clean and functional design.
And in practice, I find
the CL extremely easy and fun to use. Sure, there are a few interface elements
that you need to understand when starting out, but once the concept clicks, the
rest is smooth sailing.
Control concept
The CL is a certainly a
blend of operational concepts. Part M10, part TL2, part Q, all working together
flawlessly and intuitively. Leica has taken what could have very likely been a
hodgepodge and made something easy and fun to use.
Button layout
Akin to what the M team
was able to accomplish with the M10, the CL isn’t overloaded with buttons.
Rather, flanking the rear LCD you’ll find only three buttons to the left and a
D-pad to the right. Running from top to bottom, we’ve got labeled buttons for
PLAY, FN, and MENU. The first is self-explanatory. Press the PLAY button to
review your images.
FN button
The FN button works just
like on the Q. A long press (press and hold) brings up a list of assignable
choices, while a short press activates the selected function. The list itself
can be curated in the Customize Control -> FN button menu. Toggle the
options you’d like to access to On and the ones you never use to Off.
MENU button
The MENU button does what
it says. Press once and you’re taken to the Favorites menu. Press again or
select the Main Menu option at the bottom of this screen and you’ll get to the
full menu, broken into five pages for easier navigation. And while the
Favorites menu is standard across the Leica range these days, if you want to bypass
it completely, just set all the options under Customize Control -> Edit
Favorites to Off. Personally, I’ve grown to appreciate the convenience of
having just the handful of controls that I actually interact with easily at
hand and on one screen.
Top deck
The top deck sports two
dials, each with a button at its center. In between the dial sits a small
monochrome status LCD, which shows shooting mode in the upper right, along with
pertinent camera data depending on the selected mode. For M (manual), both
shutter speed and aperture are displayed. In A (aperture priority), exposure
compensation takes the place of shutter speed. The reverse is true in S
(shutter priority) with shutter speed and EV.
When you press the top
left wheel’s center button, a virtual sideways scrolling mode list comes up on
the LCD. Select the mode by rotating the dial. A long press here toggles Key
Lock, which deactivates every single dial and button on the camera, except for
the shutter release. So, if you think your camera is broken because nothing
works, odds are good that you’ve accidentally activated Key Lock when you meant
to change your shooting mode. Thankfully, this setting isn’t persistent, so a
quick power cycle (aka turning the camera off and on again) and you’re back to
normal.
The right button serves as
a second customizable function button. To assign, a long press brings up
choices on the rear LCD. Just like the FN button on the back of the camera, to
control what is displayed in the list, make your own selections in the
Customize Control -> Right Wheel Button menu.
I love the flexibility and
ability to personalize the camera. If you take just a couple minutes to go
through the Customize Control menu, you’ll have three entirely customizable
control pathways and will rarely, if ever, need to go into the full menu. Nor
will you be bogged down scrolling past options you’ll rarely use, like in my
case, White Balance or Scene Mode selection.
Controlling aperture and
shutter speed
In lieu of traditional
shutter speed and aperture controls like those found on the M10 and the Q, the
dual wheel concept adapts based on shooting mode. By default, the right wheel
controls exposure compensation in P and S, and aperture in A and M. The left
wheel is responsible for shutter speed in S and M, program shift in P and
exposure compensation in A. And yet again, all these default behaviors can be
switched in the Customize Control -> Wheel Assignment menu. Personally, I
almost always work in A mode and have quickly adapted to the standard EV comp /
aperture combo.
Shutter release / on-off
switch
The only remaining
controls to cover are the shutter release button with on/off switch at its base
and the rear LCD touchscreen. The shutter release feels great. Very nice
weighting and clickiness with short, but discernable travel. The half press
point is easily detectable and can be held comfortably for focus-and-recompose,
or while awaiting the decisive moment.
Touchscreen
The touchscreen
complements the physical controls nicely. My most often used interaction is
simply double-tapping to view images at 100% percent in playback and quickly
dragging the image around. Like other cameras with touch, don’t bother with
pinch-to-zoom. It works, just not well. Some of the overlay menus are touch
compatible, but dials are usually faster. Touch AF works well, though, and is
often quicker than using the D-pad to move the focus point.
No AF-On button
My one gripe, and it’s
nitpicking here, is the lack of a rear AF-On button. I’ve adapted my shooting
style on AF cameras like the SL and S to decouple focus from the shutter
release, and do miss this functionality on the CL. Of course, I see the value
in maintaining a clean, uncluttered interface. One more joystick or button on
the back of an already small camera could ruin this aesthetic. A potential
workaround might be for Leica to add AF-On functionality as a selectable option
for the rear FN button in a future firmware update. Since most users will hold
the camera with two hands (proper shooting technique here, people.), your thumb
is perfectly positioned to press the button without any finger gymnastics.
There’s precedent, too. The Q’s rear button, which was originally used only to
toggle digital zoom, can now be assigned to AF-On, care of recent firmware
update. So, it’s certainly possible.
TL/CL lenses
The TL lens ecosystem has
grown considerably since its introduction just four years ago. A full zoom
range across three lenses, covering 16mm (equiv.) up to 200mm (equiv.) provides
tons of flexibility. Four exceptional primes round out the line. Standouts for
me are the 35mm f/1.4, which is equivalent to a 50mm, and the 60mm f/2.8
APO-Macro, which fills the role of a 90mm. These lenses are flat-out stunning
and have covered most of my shooting with the CL. And really, all the native TL
lenses are excellent performers across the board.
Lens Adaptability – Leica
M, Leica SL, Leica R, Nikon F, Canon EF, PL (cine)
The CL shares the same
Leica L mount as its big brother, the SL. And this means that adapting lenses
is a snap. TL and SL lenses fit natively. While native TL lenses offer
excellent performance in small packages, SL lenses make for an interesting
hybrid approach. Considerably larger and heavier than TL glass, the full frame
SL optics are reference class across the board. Throw a 75 APO-Summicron-SL on
the CL and you’ve got a killer 100mm (equiv.) f/2 APO portrait or landscape
lens.
The new APO-Summicron-SL
lenses balance nicely on the CL body
The 50 Summilux-SL offers
up a 75mm (equiv.) f/1.4 super bokeh monster. And for those seeking maximum
reach, the 90-280 SL converts to a fast focusing, fully image stabilized
135-420mm (equiv.) f/2.8-4.
M lenses are another easy
option with the M-Adapter L. In fact, my colleague Luis wrote a great piece on
doing just that. You can check it out here: Using M Lenses on the Leica CL: NewCity, New Camera, Familiar Glass
Shooting with the CL in
the real world
The camera launched in
November 2017, but my first go around with the CL didn’t come until February
2018, where I took a basic kit along for our family ski trip to Park City,
Utah. Obviously, most of our time was spent skiing, cooking meals, going to the
movies, or relaxing in the hot tub. So, I really didn’t have too many
opportunities to get out and really shoot.
Leica CL with 35mm
Summilux-TL ASPH
1/400th @ f/1.4, ISO 100
I did manage a few
portraits of my daughter playing in the snow and grabbed some shots when we hit
up Main Street one night for dinner. The CL seemed to handle various lighting
conditions quite well.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/4, ISO 6400
I also carried the camera
with me one day skiing. Truthfully, despite being one who believes in
photographing everything, all the time, I’m not a huge fan of carting a camera
around on the slopes. I ski aggressively on more challenging terrain and am
concerned about taking a nasty fall with a camera on my person, both for my own
sake as well as the camera’s. Tumbling on packed powder isn’t as soft as it
looks and a bulky object around your midsection could potentially lead to some
gnarly bruising or even broken ribs. Not to mention, the camera would be toast.
Leica CL with 35mm Summilux-TL
ASPH
1/400th @ f/8, ISO 100
My approach was to stash
the CL with a 35 in my small Osprey ski backpack, which I mainly use to hold a
hydration reservoir, some snacks and an extra layer. Every time I wanted to use
the camera, I had to remove a shoulder strap, swing the backpack around, remove
my bulky ski gloves, get to the camera, take my shot, then repeat the process
in reverse. I managed to do this a few times riding the lift and on flat spots
on easier runs, but the technique wasn’t ideal by any measure.
Leica CL with 35mm
Summilux-TL ASPH
1/800th @ f/5.6, ISO 100
Suffice it to say, this
had very little to do with the CL and more to do with me and my focus on skiing
over photography. I quickly realized I needed a different testing scenario.
Leica 35mm Summilux-TL
ASPH
1/320th @ f/1.4, ISO 100
Heading West Again
The LHSA Spring Shoot was
slated to take place in Santa Fe just a few months later. Seeing as I had never
been anywhere in New Mexico before, several days in the high desert looked to
be a perfect place to test out the CL in a proper photocentric environment, on
a photocentric trip, no less.
Now that I was committed
to working with the CL with the goal of a review, I moved on to how I’d piece
together a kit.
Leica CL with 35mm
Summilux-TL aSPH
1/250th @ f/5.6, ISO 100
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/6.3, ISO 125
What I packed
Staying true to my
philosophy of “bring everything” I literally brought all the things. I loaded
my trusty Think Tank Retrospective 7 shoulder bag with every single TL/CL lens
that Leica makes: 11-23, 18-56, 55-135, 18, 23, 35, 60. Remarkably, all these
lenses fit with little fuss and the entire bag, with the camera and all seven
lenses, weighed less than 9 lbs.
Leica CL with the entire
range of TL lenses
Obviously, I didn’t need
to bring every single lens as there was a fair amount of overlap in focal
lengths. But, because I was actively reviewing the CL and wanted an opportunity
to test every option, nothing got left behind. The total bag weight was under
my personal cutoff of 10lbs-or-less, so I didn’t have to make any compromises
there either.
I decided against taking
along M lenses or SL lenses. These would have created another layer of
complexity, not to mention weight and bulk. Moreover, I really wanted to
evaluate the CL system by itself, using native optics.
My testing goals
When testing any camera, I
try to leverage the strengths of the system and choose applications that I feel
suit the intended use scenario. My hypothesis was that the CL could be the
perfect travel camera. Small and light like the Q, but more flexible due to
interchangeable lenses. So, that’s what I aimed for.
Travel photography to me
is quite simple. I strive to capture the ambiance and flavor of a place. Many
different styles of shooting fall under this somewhat wide umbrella, but
basically, I’m on the hunt for details, vignettes, architecture, personalities
and colors. It’s not street photography, nor is it documentary.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/1.4, ISO 500
The M has usually served
as my primary travel photography camera, but the SL, Q and X have all filled
that role as well. Each has its own advantages as well as compromises. My goal
was to capture nice images, of course, but also see how the CL compared to my
experiences with other cameras.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/400th @ f/2.8, ISO 100
How I used the camera
I never viewed the CL as a
camera not to be taken seriously. That might sound like a strange way to
describe a Leica. But in my regular photography during workshops, I’m using
larger, higher-end systems. And when you become accustomed to a certain echelon
of equipment, often picking up a much smaller and lighter camera, your first
inclination is to treat it as a toy, or simply dismiss it out of hand.
So, I always thought about
the CL as more than a point and shoot or snapshot camera. Rather, I made every
effort to shoot it as I would an M or SL.
Leica CL with 18mm
Elmarit-TL ASPH
1/50th @ f/8, ISO 125
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/5.6, ISO 640
Taking the CL for a spin
in New Mexico
This was my first time to
Santa Fe, or anywhere in New Mexico for that matter. New destinations are often
some of my favorite shooting locations. The camera and I experience everything
together for the first time and can carry that sense of heightened observation
into the results.
Leica CL with 23mm
Summicron-TL ASPH
1/640th @ f/5.6, ISO 100
Familiarity with a locale
can certainly be an advantage, especially for landscape photography, but I find
the novelty of a new place works extremely well for me when approaching travel
photography. Always on the hunt for patterns, shapes, and color, I’m taking
everything in with fresh eyes and a sense of wonder.
Leica CL with 18mm
Elmarit-TL ASPH
1/320th @ f/8, ISO 100
Situated at over 7,000
feet elevation, the light in Santa Fe is simply incredible, especially in early
Spring. Rich, azure blue skies. Directional, yet low angle light emphasizes
textures, creates rich, deep shadows and makes colors pop. The ubiquitous muted
reddish-brown adobe sets off nicely against the largely cloudless skies. I also
really appreciated the use of turquoise and blue as accents in the local
architecture.
And even though situated
in a desert, Santa Fe abounds with a surprising amount of greenery and plant
life. Much more than I’m used to seeing in Arizona, for example.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/11, ISO 800
Leica CL with 18mm
Elmarit-TL ASPH
1/160th @ f/9, ISO 100
Originally founded in 1610
by Spanish Colonists, Santa Fe is the oldest state capital in the country. With
its population of around 69,000 full-time residents, the city feels more like a
small town, especially in the historic old town. There, the central plaza
buzzes with activity, especially as each day gets closer to the weekend. Street
performers, vendors, and tourists fill the plaza and surrounding streets.
Leica CL with 35mm
Summilux-TL ASPH
1/3200th @ f/2.2, ISO 100
Leica CL with 35mm
Summilux-TL ASPH
1/1000th @ f/2, ISO 100
No shortage of subject
matter here, with boldly colored woven blankets, dried red chilis, bleached
white cow skulls, hand carved figurines, traditional pottery and more, around
every corner. Not to mention the people. Sure, it’s painfully obvious that
tourism plays a large role in the economy and ecosystem here, but I still think
there is authenticity to be captured.
Leica CL with 35mm
Summilux-TL ASPH
1/640th @ f/3.2, ISO 100
Leica CL with 35mm
Summilux-TL ASPH
1/500th @ f/8, ISO 100
Road tripping with the CL
Most LHSA meetings go
through Sunday morning, with a banquet or get-together on Saturday evening. So,
I scheduled my flight home for early Monday morning. This would allow me to
make my way back to Albuquerque on Sunday afternoon, stay at an airport hotel
and catch my crack of dawn flight back east. But this time, the program ended
Saturday afternoon with nothing scheduled for Sunday morning at all. Seems like
I had an unplanned free day.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/500th @ f/2.8, ISO 100
Tom Smith, who runs Leica
Akademie North America and whom I’ve known for years, was at the event to hand
out loaner gear. I asked him about his travel plans and turns out that he did
the same. Neither of us had anywhere to be all day on Sunday. So, we decided to
take a road trip north to Taos and see what we could find, and photograph,
along the way.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/5.6, ISO 250
That Sunday, Santa Fe was
in full swing. I shot around town while we waited for a table at Pasqual’s, one
of the local hotspots for New Mexican cuisine. Our brunch was good, but I was
ready to get back out and take some pictures.
Leica CL with 35mm
Summilux-TL ASPH
1/125th @ f/1.4, ISO 100
Tom might have had to drag
me to the car, as I could have easily just continued to photograph the
plentiful subject matter in Santa Fe. After all, in the few days I was there, I
had barely scratched the surface. There was just so much left to explore.
Frankly, I didn’t want to
stop. But I did. Reluctantly. Sometimes you should work a good location to
death and sometimes you need to have faith in what the road ahead holds.
Leica CL with 35mm
Summilux-TL ASPH
1/500th @ f/8, ISO 100
Leica CL with 35mm
Summilux-TL ASPH
1/1000th @ f/2, ISO 100
With Santa Fe in the rearview,
I stopped lamenting the missed shooting opportunities back in town and was up
for adventure. The open road was calling, and we were answering. With a general
idea of a few choice spots, we definitely had a destination. But that didn’t
mean that we weren’t also on the lookout for any good shooting opportunities.
Leica CL with 18mm
Elmarit-TL ASPH
1/2000th @ f/2.8, ISO 100
Leica CL with 35mm
Summilux-TL ASPH
1/250th @ f/8, ISO 100
Española, NM
Our first stop was about
halfway to Taos, at the crossroads town of Española. We saw a cool drive-in
diner, hung a quick U-turn and decided to park and explore. As always, you just
see so many more details on foot. Once out of the car, there was no shortage of
cool locations and vignettes within a one block radius.
Leica CL with 18mm
Elmarit-TL ASPH
1/160th @ f/11, ISO 100
The drive-in diner that
initially caught our attention wasn’t open for business. So, while I had
visions of a buzzing scene of motorists grabbing burritos curbside under a neon
glow, what I got was a seemingly deserted roadside stop with a red and white
motif that contrasted nicely with the cloudless blue sky. No neon. No
customers. But still interesting. Turns out, the barber shop next door was a
far better subject anyway, with their not-so-subtle signage.
Leica CL with 18mm
Elmarit-TL ASPH
1/320th @ f/10, ISO 100
Down the block, I stumbled
upon an abandoned apartment complex, complete with crumbling white facades and
peeling turquoise doors. I even managed to shoot an interior, sticking my head
through a hole in one of the exterior walls.
Leica CL with 35mm
Summilux-TL ASPH
1/800th @ f/6.3, ISO 100
Around the development,
everything was in various states of decay, from a makeshift basketball court to
mailboxes. The ghost town vibe was intriguing, but just a little bit eerie. And
we were both anxious to get to our next stop, which should have only been
another 30 minutes north.
Leica CL with 18mm
Elmarit-TL ASPH
1/160th @ f/10, ISO 100
Leica CL with 18mm
Elmarit-TL ASPH
1/320th @ f/9, ISO 100
Leica CL with 18mm
Elmarit-TL ASPH
1/640th @ f/8, ISO 100
Another quick stop
But before we reached that
destination, we both eyed a gorgeous fully restored 1955 Chevy Bel Air parked
on the side of the road, its metallic blue paint shimmering in the midday sun.
Tom looked at me from the
passenger seat, smiled knowingly and said, prophetically, “So, if we stop to
shoot that car, we need to be prepared for a somewhat long conversation with
the owner.” Indeed, the owner was working in his yard, just a stone’s throw
from the Chevy. We pulled over.
Leica CL with 18mm
Elmarit-TL ASPH
1/320th @ f/8, ISO 100
Leica CL with 60mm
APO-Macro-TL ASPH
1/160th @ f/8, ISO 125
We didn’t make it a minute
before the gentleman came over to talk to us. I could swear he put the car
there as bait, to lure in unsuspecting passersbys. But not for any reason other
than to show off and chat up those who could appreciate his baby. Tom’s
prediction was right on the money. We got the full tour and history of the car.
On the plus side, we also got access to the all-original matching blue
interior.
Leica CL with 60mm
APO-Macro-TL ASPH
1/640th @ f/2.8, ISO
Classical Gas Museum
Motoring on, we arrived at
the Classical Gas Museum in the tiny community of Embudo, NM. A passion and
obsession of Johnnie Meier, a retired engineer from Los Alamos laboratories,
the museum showcases one of the largest collections of gas station relics and
memorabilia.
1/400th @ f/3.5, ISO 100
As we parked, Johnnie
approached our car and greeted us. He explained that the ‘new’ stuff could be
found inside and the ‘old’ stuff was outside, with some items scattered in the
front and the remainder on a half-acre out back.
Leica CL with 35mm
Summilux-TL ASPH
1/1600th @ f/1.4, ISO 100
We decided that inside
would be a good place to start. He led the way, unlocked the door and flipped
on the lights. And I do mean all the lights. The interior of the small museum
building came to life, as scores of old gas station signs lit up in a fantastic
glow of color.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 11mm
1/30th @ f/7.1, ISO 500
The ‘new’ pumps inside
were vintage gas station pumps fully restored to their former glory by Johnnie
himself. To start things off, I threw on the 11-23 to take in the entire scene,
before working my way through the details.
The CL impressed me by
capturing the colors of the illuminated signs wonderfully. Bright neon in dimly
lit spaces can be challenging, but the CL managed the task with aplomb.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/2.2, ISO 500
Leica CL with 11-23mm Super-Vario-Elmar-TL
ASPH @ 11mm
1/30th @ f/7.1, ISO 500
While we walked around,
Johnnie regaled us with stories of notable visitors and would-be-purchasers. He
remarked that despite the number of zeros on some of the checks he’s been
offered over the years, he has always declined. The collection simply wasn’t,
and still isn’t, for sale.
Leica CL with 35mm
Summilux-TL ASPH
1/800th @ f/1.4, ISO 100
We also got the scoop on
just how one acquires such a large catalog of vintage items. At first, Johnnie
would hop in his truck and venture out around New Mexico and neighboring states
in search of treasures. But, eventually, people just started calling him,
asking if he wanted an old pump, or sign, or box of old oil cans. Now, he has
amassed a seemingly endless supply of paraphernalia.
Leica CL with 35mm
Summilux-TL ASPH
1/160th @ f/1/4, ISO 100
Back outside, I felt like
a kid in a candy store. Or, in my case, a detail photographer in a junkyard.
Tom spoke with Johnnie while I giddily wandered amongst the assorted loot.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 23mm
1/1600th @ f/4.5, ISO 100
Both the 35 and the 60
were magical here, letting me easily capture the textures and subtle colors on
display. And, by shooting wide open and getting close, I was able to isolate
the various subjects and create a sense of space despite the crowded
environment.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/180th @ f/2.8, ISO 100
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/2.8, ISO 100
The wide angle lenses also
got some time to get in on the action. Both the 18mm and 11-23mm were perfect
for creating some more dramatic perspectives. Again, I couldn’t get over just
how light and effortless the CL was with the 18mm pancake mounted. Or the
flexibility of the 11-23mm.
Leica CL with 18mm
Elmarit-TL ASPH
1/3200th @ f/2.8, ISO 100
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 15mm
1/160th @ f/7.1, ISO 100
Leica CL with 11-23mm 60th @ f/7.1, ISO 100 Super-Vario-Elmar-TL ASPH @ 23mm
1/320th @ f/5, ISO 100
I’m fairly sure I went
through at least half a battery in the junkyard. I just love this kind of
photography. And the CL absolutely shined in this environment. Again, I could
have easily continued shooting until the sun went down.
Leica CL with 18mm
Elmarit-TL ASPH
1/5000th @ f/2.8, ISO 100
But all that shooting
works up an appetite, so we called it a wrap. Two lots over, Sugars was serving
up BBQ and road food. We thanked Johnnie for his hospitality, tossed some cash
in his donation jar (he gives all of it away to charity at the end of the
year), and packed it in.
Leica CL with 35mm
Summilux-TL ASPH
1/200th @ f/5.6, ISO 100
Tom was finishing up his
ribs while I explored. The outdoor picnic-style dining area wasn’t that
interesting photographically, especially compared to the Gas Museum. But, I did
learn that Sugar was the dog, at least according to the framed picture I
spotted next to the order window.
Leica CL with 35mm
Summilux-TL ASPH
1/250th @ f/2.8, ISO 100
Taos or Bust
Driving alongside the Rio
Grande on Route 86, I spotted a faded green pickup truck at a pull-off. Tom
nearly had a heart attack as I came to a sudden stop, swung through the
oncoming lane and somehow made it into the small dirt parking area.
Leica CL with 35mm
Summilux-TL ASPH
1/10,000th @ f/1.4, ISO
100
Now, I just thought the
truck was the shot. But as I glanced down towards the river bank, I noticed two
locals fishing. The sun was getting low and bathed half of the valley in a
fantastic golden hue. I scrambled down the small dusty hill, casually snapping
a few shots, each time getting a little closer.
Leica CL with 35mm
Summilux-TL ASPH
1/160th @ f/5.6, ISO 100
The fishermen didn’t seem
bothered by my presence. When I got close enough, I asked them how the fishing
was, where they were from and remarked on what a beautiful day it was.
Leica CL with 35mm
Summilux-TL ASPH
1/2000th @ f/1.4, ISO 100
As we talked, I grabbed a
shot here and there. One of the guys caught a small trout while we were
standing there. He held it up so I could take a picture. Man, that was some
good light.
Leica CL with 35mm
Summilux-TL ASPH
1/6400th @ f/1.4, ISO 100
Of course, all I had on me
was the 35 Lux. My camera bag was at the top of the hill. But I had no
complaints. The shooting was great and the 35 was more than up to the task. For
just about the entire series, I shot wide open, letting the camera’s shutter
run up as high as it needed to.
Leica CL with 35mm
Summilux-TL ASPH
1/3200th @ f/1.4, ISO 100
Tom looked on knowingly
and when I made my way back to the car, he shook his head. “What a great scene.
I thought about joining you down there, but I didn’t want to break the mood.
Shouldn’t have hesitated.” And he was spot on. So many times, to put yourself
in a position to get great images, specifically of people, you need to overcome
your own reluctance and fight the instinct to hesitate.
Leica CL with 35mm
Summilux-TL ASPH
1/800th @ f/1.4, ISO 100
Subjects can sense a
photographer’s unease and often won’t feel comfortable themselves. You just
need to be relaxed, friendly and engage in a non-pushy manner. And sometimes,
the pieces come together with great light, an interesting scene and compelling
subjects.
Leica CL with 35mm
Summilux-TL ASPH
1/5000th @ f/1.4, ISO 100
Before arriving in Taos,
we came upon a gorgeous stretch of highway and had to stop. Again. Hey, life
and photography are about the journey, not the destination, right? On the other
side of the road, a lone majestic, leafless tree spread its branches across a
cloud-filled sky, begging to be photographed. I obliged.
Leica CL with 11-23
Super-Vario-Elmar-TL ASPH @ 11mm
1/500th @ f/10, ISO 100
And with the car close at
hand, this time I took my camera bag and worked the scene with a variety of
lenses. The 11-23 perfectly captured the scale and the gorgeous sky that was
forming in the desert. It also worked well to create a dramatic juxtaposition
with the faded mailbox.
Leica CL with 11-23
Super-Vario-Elmar-TL ASPH @ 11mm
1/250th @ f/10, ISO 100
Throwing the 35 Lux on, I
created an entirely different composition from the other side of the road.
That’s why I’m always trying different vantage points and focal lengths. Taken
just a minute or two later, the more compressed, flatter variation gives
another perspective of the same subject.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/9, ISO 125
And the 55-135 saw some of
its first use on the trip, bringing the distant mountains and gorge into view
with dark rain clouds looming ominously above them. With the light starting to
fade, I needed to crank my ISO up a bit in order to sharp handheld speeds.
Leica CL with 55-135mm
APO-Vario-Elmar-TL ASPH @ 135mm
1/400th @ f/9, ISO 1000
Running out of daylight
and constantly getting sidetracked, we decided that it was ‘Taos or bust’ time.
No more “quick stops.” We had a mission and were just going to have to pass up
some good stuff along the way if we were going to make it Taos for sunset.
But arriving in town
offered little in terms of inspiration. There had to be a sunset location
somewhere, right? Ah, the curse of the sunset foreground. I’ve lost count of
how many ridiculously stunning sunsets I’ve blown because I couldn’t find a
decent foreground in time. And it was happening again. With such an awesome day
of photography, we had to finish on a high note. So, we raced around town,
trying to find something.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/8, ISO 400
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/5, ISO 640
And when that search came
up short, we hightailed it back the way we came until finding a pull-off into
the desert, where I shot an uninspiring silhouette of a large, leafless shrub.
That was it. At least I got a chance to use the tripod I had brought along.
This is the one and only picture that I didn’t shoot handheld.
Leica CL with 35mm
Summilux-TL ASPH
30 second @ f/5.6, ISO
100, tripod
We drove ten minutes back
to Taos, ate what was to be our final New Mexico burrito with green chili
sauce, and pored over pictures on my laptop.
My disappointment with the
frantic and anticlimactic sunset chase melted away as I marveled at just how
many incredible shooting opportunities has presented themselves in a single
day. Adding those to my already successful Santa Fe endeavors, I had way more
keepers than I could have hoped for.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/2.8, ISO 320
The food was great and
with a fire our bellies from those local hatch chilis, we started the hour and
a half hour trek back to Santa Fe in the dark, where I dropped Tom off. We said
our goodbyes, and I continued on to Albuquerque to check into my hotel to grab
two measly hours of shuteye before my flight home. Worth it. Totally worth it.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/5.6, ISO 640
Thoughts after New Mexico
I’ve certainly had plenty
of time to evaluate the CL and use it well after my initial testing in New
Mexico. As with all cameras, there is no such thing as a perfect camera, for
every style of photography, and for all photographers. But for me, and my photography,
the CL gets close to hitting the mark as a near-perfect travel companion.
Leica CL with 18mm
Elmarit-TL ASPH
1/500th @ f/2.8, ISO 100
Fun and easy
The CL is simply a blast
to use. Everything is easy and intuitive. Focus is accurate. The viewfinder is
awesome. Unlike a larger camera system, I never once felt fatigued. No sore
shoulders or aching lower back from the ever-growing weight of a bulky camera
bag. And not because I pared down. Rather, I had every single TL lens in my bag
on my first major outing. Yet, I still felt a sense of freedom.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/8, ISO 640
I don’t think I can stress
this point enough. I didn’t have to sacrifice image quality, or the flexibility
the variety of focal lengths affords. Being unencumbered, I could wander more
comfortably. The light weight didn’t require my attention and I could
concentrate entirely on my surroundings and making pictures.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/7.1, ISO 400
And this is true for most
travel in general. A camera shouldn’t be a burden. Rather, a good travel camera
should serve as an unassuming companion. There when you need it, unnoticed when
you don’t. In this role, the CL works brilliantly.
Leica CL with 35mm Summilux-TL
ASPH
1/2000th @ f/2, ISO 100
What I used
I tried to use everything.
But, ultimately, I gravitated to the primes. They are just so good. Looking
back, I probably could have gotten by with just the 18, 35 and 60. In
full-frame equivalents, these would equate to 28, 50 and 90.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/4, ISO 500
Now, if you’re familiar
with any of my previous reviews, or my photography in general, you might find
this surprising. See, I’m not a 28/50 shooter. Not even a little bit. My happy
place is 24/35/90. So, why didn’t I stick to the 23 f/2, which would equate to
a 35 Cron? Honestly, I can’t say. The 23 is a great little lens, but after
initially forcing myself to press the new 18mm f/2.8 pancake into service, I
kind of fell in love with it.
Leica CL with 18mm
Elmarit-TL ASPH
1/500th @ f/4, ISO 100
Sharp, with excellent
color and contrast, I haven’t found anything I don’t like about it. And the
size. It’s so tiny! With the 18 mounted, the CL can slip into a jacket pocket.
Perhaps if the 18 had been available to me when I went skiing with the camera
that first time, I might have tried to make it work.
Moving on to my favorite,
the 35 Lux. This lens is magical. It would be the one lens that I’d say
everyone who is considering the CL needs. I can’t live without it. Really. Some
have asked me why I would use the 35 TL when I already have the 35 Lux FLE for
the M. Valid question. The 35 Summilux-M ASPH is indeed my go-to lens for the
M10 or M Monochrom, and can be easily adapted to the CL, but I really enjoy the
TL variant. Image quality is exceptional, especially wide opfocen. Obviously,
the M lens is no slouch either, so that’s not the deciding factor. For me, the
real clincher is the minimum focus distance of 0.3m for the TL versus 0.7m for
the M.
Leica CL with 35mm
Summilux-TL ASPH
1/3200th @ f/1.4, ISO 100
Even though the 35 is a
normal lens, and not a macro, the ability to move in close and grab detail
shots is fantastic. And while conventional wisdom says you can’t achieve the
same bokeh with an APS camera, I can get even more than a full frame M when
shooting close-up and wide-open.
Leica CL with 35mm
Summilux-TL ASPH
1/10,000th @ f/1.4, ISO
100
The other aspect that
shouldn’t be overlooked is the native AF and auto aperture integration offered
on the TL. Despite my self-professed purist tendencies, the speed and
spontaneity of point-and-shoot operation is tough to beat on a small camera.
The only negative I’ve found on the 35 TL is its susceptibility to lateral
chromatic aberration under the right circumstances. For shots where CA has
reared its ugly head, Lightrooms easy CA controls have completely eliminated
any purple fringing from my final images.
Leica CL with 35mm
Summilux-TL ASPH
1/1000th @ f/1.4, ISO 100
Rounding out the trinity
is the 60 APO-Macro-TL. Another serious piece of glass right here. The 60 holds
the distinction of being the very first 1:1, or life-size, macro that Leica has
ever made. Yes, really. All the legendary R macro lenses 1:2 The
reference-class 120 APO-Macro-S 1:2.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/3.5, ISO 400
When combined with the
24MP sensor in the CL, the 60 renders a ridiculous amount of detail. And the
bokeh? Luscious and smooth. And while CA can creep in a bit with the 35, the 60
earns its APO moniker, keeping any and all chromatic aberration at bay, even
under torture-test conditions.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/5.6, ISO 125
Of course, while I could
get by with just these three primes, I would be remiss if I didn’t say how much
fun the 11-23 can be. Equivalent to a 16-35mm in full frame, the wide zoom
really rounded out my kit. Sharp, low distortion, and easy to handle. For users
who tend to shoot wide, the 11-23 could make for an attractive walkaround
option. Even disregarding the extreme wide end, you’d get a 35, 28, 24, and 21
in one compact package. The sacrifice for this flexibility is the slower
variable maximum aperture of f/3.5-4.5. But, the addition of a fast prime,
either native TL, or adapted from a different system solves this.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 11mm
1/30th @ f/5.6, ISO 125
Lenses that didn’t get
much love
The 23, 18-56, and 55-135
were virtually tied as my least used lenses. Out of my initial edit of around
300 shots in New Mexico, each lens accounted for less than 10 shots apiece.
Compare that to 140 taken with the 35 Lux and you get the idea of how much I
love the 35.
So, why didn’t I use these
lenses? Are they bad? Certainly not. In fact, all three are excellent. When I
first reviewed the original T (Typ 701), the 23 and 18-56 were the only lenses
available. And I enjoyed shooting with them immensely.
For the 18-56, I found
that my three-lens prime kit could cover this exact range more handily and with
much wider apertures. The zoom was redundant. If I hadn’t gone the 18/35/60
route, then the standard zoom would have found much more use.
Leica CL with 18-56mm
Vario-Elmar-TL ASPH @ 28mm
1/800th @ f/8, ISO 100
By all accounts, the 23
should be my standard lens, as I gravitate to 35mm equivalent in every system I
shoot. The lens is compact, only slightly larger than the 18 pancake. It’s
extremely sharp and offers a fast f/2 maximum aperture. But I barely touched
it. Look, the 35 Lux is magic. And flexible. Add the 11-23 to mix and the 23
becomes somewhat unnecessary, although I will give the performance edge to the
23 prime.
Leica CL with 23mm
Summicron-TL ASPH
1/500th @ f/2, ISO 100
Unfortunately, I think
that the 55-135 got a bit of a bad break on my NM trip. Most of my shooting was
around towns and relatively close up. Only a few locations in the desert lent
themselves to telephoto. If I had skewed more towards landscape shooting and
less travel photography, the long zoom would have definitely seen more action.
The majority of my photography happens between 24 and 90, but I do love tele
for landscapes. In fact, when I tested the TL2 along the Maine coast, the
55-135 saw considerable use, proving a worthy companion and excellent creative
tool. For the range offered, the lens is light and compact, a clear advantage
of the smaller APS-C format.
Image quality
When I started playing
with my CL files in Lightroom, I was surprised by just how good they were. I
mean, I’m used to full frame Leica cameras like the M10, SL and Q, not to
mention my main landscape workhorse, the medium format S007. And while the CL
is positioned as a somewhat entry level system camera in the lineup, the files
are anything but.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 23mm
1/200th @ f/8, ISO 100
Colors are exquisite.
Vibrant and punchy, but not artificial. The rich blue skies of the high desert
were rendered beautifully, especially when contrasted against the ruddy adobe
buildings. Greenery looks natural. Reds pop without drifting towards magenta or
orange.
Leica CL with 18mm
Elmarit-TL ASPH
1/4000th @ f/2.8, ISO 100
To my eye, the DNGs from
the CL respond very similarly to those from the SL in Lightroom. There is a
decent amount of shadow and highlight recoverability before tending towards an
overly HDRish look when pushed to the max.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 11mm
1/100th @ f/9, ISO 100
Dynamic Range
Not scientific by any
measure, but I’d estimate that the CL offers dynamic range just shy of the SL.
Here’s a shot that blew my mind. One of the more famous sights in Santa Fe is
the Miracle Staircase in the Loretto Chapel. Just a short walk from my hotel, I
figured I’d check it out. Without my tripod. The 20-foot-high helical staircase
has no central support or metal structure whatsoever. In fact, it doesn’t even
have a single nail. The whole all-wood spiral is self-supporting. A miracle of
carpentry and craftsmanship, the stairs make two full turns and have stood
there since completion in the late 1800s.
Leica cL with 60mm
APO-Macro-Elmarit-TL ASPH
1/2000th @ f/2.8, ISO 100
So, I threw on the 11-23
and tried to capture the staircase. Directly adjacent, a large stained-glass
window posed a considerable challenge to my exposure. I could meter for the
dimly lit stairs, and blow out the window, or I could expose for the window and
let the shadows go black. I decided to give the latter a shot. Here, you can
see the original capture with seemingly no information in the shadows
whatsoever.
As shot out of camera
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPh @ 22mm
1/80th @ f/4.4, ISO 100
And, here’s the final
image, with simple exposure adjustment and shadow recovery in Lightroom, and
not an HDR blend from multiple captures. I honestly was not expecting this
result. After seeing how much I could work these files in post, I realized just
how capable the little CL can be.
Same image, pushed ~4
stops in Lightroom
Low light performance
I didn’t do a ton of low
light shooting in New Mexico, but from experience, ISO 6400 is entirely usable.
Noise is well controlled, and what shows is monochromatic and tightly packed. A
quick +20 on the noise reduction slider in Lightroom will reign in just about
any image with little fuss and no loss of file detail.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/1.4, ISO 2000
Color reproduction and
saturation is also largely unaffected at higher ISOs. I’d rate the low light
ability of the CL relative to the Q, M10 or SL similar to dynamic range – about
one stop less. Bear in mind that these are all full-frame cameras, where the CL
uses APS-C.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/2.8, ISO 6400
Where does the CL fit into
the Leica range?
When the CL first came
out, I tried my best to figure out where it fits into the growing range of
Leica cameras. And, indeed, many Leica shooters and would-be purchasers have
asked me the same thing. So, here goes.
Compared to SL
The SL is Leica’s professional-grade
full frame mirrorless camera. Serving as a technology platform, the SL features
the highest resolution EVF, the fastest AF, the most effective image
stabilization and the most powerful processor, all in a rugged and
weather-sealed package.
The SL lenses are
reference class through-and-through, with more impressive glass on the horizon.
I like to think of the CL as a baby SL. Both are mirrorless L-mount cameras.
The SL is more capable, but the CL is more portable and half the cost.
Compared to TL2
Not surprisingly, the CL
and TL2 are the most similar as they share the most crucial internal
components. Both feature the same 24MP APS-C CMOS sensor, Maestro II image
processor, and L mount. So, with the same lens, same sensor, and same processor
you can expect almost identical photographic performance.
What makes these two
cameras different is their differing design aesthetics and user interface
approaches. The TL2 is minimal and modern, with a large touchscreen serving as
the primary control surface. The CL has some of the same elements, like the
touchscreen and assignable dual top dials, but offers a more classic design
with physical buttons on the back.
Another notable difference
between the two is the implementation of the EVF. On the CL, the electronic
viewfinder is built-in. The TL2 sacrifices an internal EVF for a larger rear
LCD and streamlined design. So, the EVF is an add-on, with an optional Visoflex
020 sliding into the hotshoe of the camera.
And while this might seem
like a huge downside to the TL2, the external EVF offers two distinct
advantages. First, the Visoflex functions as a GPS receiver, embedding geotag
data into the files. And secondly, the external finder pivots 90 degrees
allowing ‘waist level’ shooting, which can be much more discreet in certain
situations as well as affording some creative freedom for low-angle
positioning. But, in most circumstances, and for most users, the convenience of
a built-in EVF outweigh these two benefits.
Compared to Q
Over the past year, I’ve
lost count of how many people have asked me whether they should get a Q or a
CL. Indeed, when paired with a lens, the total cost of a basic CL kit is
roughly on par with a Q.
With the Q, you get a full
frame sensor paired with the stellar 28mm f/1.7 Summilux with macro capability.
The CL trades the full frame sensor for an APS-C one but offers greater
flexibility with interchangeable lenses based on Leica’s L mount.
Compared to M10
The M10 is a manual focus
rangefinder. And while the CL might evoke elements of the M, and can take M
lenses, the fundamental operational concept is quite different.
The M is unique in the
camera world and will remain so. That being said, the CL nicely compliments the
M10 as a backup or second body as M lenses do work quite well with the adapter.
How I see the CL
My perspective might be
skewed by the other Leica cameras that I shoot with, but here’s my take. I
think that the CL can work well in a few capacities.
As a small system camera
Mainly, the CL can
certainly stand on its own and makes for a seriously capable system camera. For
those wanting to get into a real Leica in a more affordable way, the CL is a
great choice. A new CL is even less than a used M body these days. And a used
CL is a downright bargain. As are the lenses. I have no reservations
recommending the CL as someone’s main kit, or as an entry into the Leica world.
If a photographer is looking to eventually build up to a full M kit, the CL
works as a body for a burgeoning M lens collection. If an SL is the ultimate
goal, the cross-compatibility of the L mount makes for an easy transition as
well.
CL as a backup body
Some photographers never
embark on an important excursion without packing a backup camera body. I can’t
argue with the logic here, as there are some scenarios where a camera failure,
fall, or theft would put you completely out of commission, photographically
speaking. And I think the CL can work here on a few fronts, pairing admirably
with its larger siblings.
As a backup to the M10
With the simplicity of
mounting M lenses and easily focusing them using focus magnification and focus
peaking, the CL makes for a natural backup to the M10, or a color companion to
an M Monochrom. Just throw the M Adapter-L, or the M Adapter-T as it was originally
called, on the camera, mount your favorite M lens and you’re good to go. The
1.5x sensor crop does change the character of the lens, so plan accordingly.
I like the idea of packing
a CL with the 18mm alongside your M kit. Taking up less space than an M body on
its own. The little camera and lens combo gives you a backup body, plus the
ability to have a pocketable, high quality AF point and shoot to take out to
dinner, to a wedding, with friends, etc. when the M would be a little too much.
As a backup to the SL
With the exact same L lens
mount, the CL also makes for an ideal backup to the SL. Again, the 1.5x crop
factor comes into play, but can usually be worked around with the addition of a
couple of native TL lenses. To cover the wide end, an 11-23 TL does nicely, for
example. And while massive relative to the diminutive proportions of the CL,
both the 24-90 and 90-280 SL lenses work remarkably well. The 90-280, in
particular, is of special note.
As a 1.5x teleconverter
When I asked some of the
optical designers at Leica about the possibility of releasing a teleconverter
for the SL to extend the 90-280, they said that Leica already offers one. “It’s
called the Leica CL.” Yes, even Leica thinks of the CL as a teleconverter. And
this makes sense. An optical teleconverter would probably cost about the same
as a CL body, result in a marginal decrease in image quality and a 1-2 stop
reduction in maximum aperture. Using the CL to turn the 90-280 into a 135-420
equivalent lens, the f/2.8-4 speed is unaffected, with no hit to optical
performance. Clearly, the tele zoom is more than up to the task of resolving
details on the higher pixel density sensor, even wide open. Full AF and optical
image stabilization function are both maintained.
Make sure to use the
tripod foot on the 90-280, not on the camera, to avoid undue stress on the lens
mount
So, if you think you might
be needing greater reach than you can get with the 90-280 on your SL, the CL
makes a whole lot of sense as both a backup body and a teleconverter. On a
space and weight-limited outing like a Safari, the CL would be the perfect
addition to an SL kit.
Is the CL a Mini M?
In my review of the Leica
Q in 2015, I called the camera a Mini M. This moniker was originally used to
underwhelming effect for the X Vario a couple years earlier, which was not
initially well received and arguably not at all a Mini M. The Q, though, got
closer to this hallowed name with its shutter speed dial on top and aperture
and focus rings on the lens, echoing the M.
So, is the CL the new Mini
M? After all, the CL works great with M lenses via the M-Adapter L.
Well, I still think the Q
is more Mini-M than the CL. The CL to me, feels like a Mini SL. Both are
interchangeable lens mirrorless cameras, even sharing the same lens mount. The
interface is different, with the rear controls resembling the M10 more than the
SL. The top of the camera borrows from the dual dial layout of the TL2.
The CL could have ended up
looking like a mishmash with all its inter-camera cross breeding, but rather,
the result is clean, functional and easily configurable.
Common Concerns
I’ve fielded a small
handful questions and concerns on the CL, legitimate and non-issues both. I’ll
run through some of the most common here, with my thoughts.
Lack of OIS and IBIS
Some have worried about
that the lack of image stabilization in the CL with a few even dismissing the
camera completely for this omission. IBIS, or In-Body Image Stabilization, is a
very popular buzzword these days. And while I’m not discounting the value of a
good IS system, never once have I felt that I could have gotten a shot, or
wouldn’t have missed a shot, had I had IS on the CL. Just hasn’t happened in
the thousands of images I’ve shot with the camera over the past year or so.
Leica CL with 11-23mm
Super-Vario-Elmar-TL ASPH @ 13mm
1/40th @ f3.9, ISO 200
So, either I’m superhuman
(I’m not, BTW), or the camera has the magical combination of solid high ISO
performance, fast lenses and minimal shutter vibration. And like all current
Leica cameras, finding the ideal Auto ISO settings is key to consistently sharp
images. For me, a minimum shutter speed of 1/125th does the trick for most
walk-around shooting. In low light, I can easily get away with 1/30th,
especially with wider lenses like the 18mm.
Not full frame
The CL is not full frame.
It’s got an APS-C sensor. And this might be an issue for many photographers.
I’m not one of them.
Leica CL with 35mm
Summilux-TL ASPH
1/100th @ f/1.4, ISO 2000
Between the capabilities
of the TL lenses and the solid 24MP sensor, I’ve been getting results that
rival the Q, M10 and SL. The superb resolving power plus the luscious bokeh on
lenses like the 35 Lux and 60 APO-Macro allow the CL images to easily pass for
ones coming out of its full frame siblings.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/2.8, ISO 125
Over the years, I’ve shot
with plenty of APS-C DSLRs and the CL is performing at a different level. Would
full frame with the same lens mount be nice? Sure. It’s called the SL.
Snarkiness aside, one look at the size difference between the SL and the CL and
you can easily see why fitting a full frame chip into a more diminutive body
just wouldn’t be possible.
The smaller sensor allows
both the camera body and TL lenses to be much more compact, one of the biggest
complaints from would-be SL shooters who love the camera, but don’t want to
carry the weight or deal with the bulk.
Soft controls vs.
dedicated controls on Q
So, this one is isn’t
totally in the pro or con column and really comes down to how you like to use a
camera. The Q, as well as the M, has fixed controls – shutter speed dial on the
top of the camera, with aperture and focus rings on the lens. For many users,
especially those who started out with film cameras, this concept is very
straightforward. The CL goes more the modern route, along the lines of the SL
and TL2. The two top dials are configurable. As are the center function buttons
inside them. For users who really like to tweak all their settings, this is a
fantastic interface. But, for those coming strictly from the analog side, soft
controls could be slightly confusing with too many various ways of interacting
and controlling the camera.
Final Thoughts
The CL is a real Leica,
through and through. Striking back to the company’s roots, Leica has delivered
a small camera with big image quality. Easy to use, yet fully featured. The
imaging performance of the APS-C 24-megapixel sensor combined with the stunning
TL lenses result in images from the CL that look extremely close to those
coming off the full-frame Leica SL. The ergonomics are great, the UI is clean
and straightforward and the EVF is large and clear. It’s an amazing camera
despite its size. And a pleasure to carry because of it.
Leica CL with 60mm
APO-Macro-Elmarit-TL ASPH
1/160th @ f/8, ISO 400
For me, the CL has become
an easy grab and go, and has continued to join me on new adventures. In many
ways, the CL is the camera I’ve been waiting for since the early days of
digital. Small, without sacrifice. Fun, but more than a toy. Serious enough for
real work, yet simple enough to be a point and shoot. And try as I might, I
find little not to love about it. If you haven’t figured it out by now, I’m a
huge fan of the Leica CL.
If you’re considering
picking up a Leica CL, or anything Leica for that matter, please consider doing
so at Leica Store Miami. Getting your gear through Leica Store Miami is a great
way to support this site.
Leica CL with 35mm
Summilux-TL ASPH
1/400th @ f/1.4, ISO 100
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