By Kirsten Vignes, LeicaStore Miami
It’s no secret: I like to
travel light. If you’ve read any of my previous articles such as FiveCountries, One Camera: Travels with the Leica Q or Two Weeks in India with theLeica CL: Getting out of my Comfort Zone, you’ll know that I’m a one-camera, one-lens
(maybe two) kind of girl. Making small cameras with big image quality has been
one of Leica’s core guiding philosophies ever since they introduced the world’s
first 35mm still camera over 100 years ago. It’s what has attracted so many to
the brand through the decades, and one which continues to make Leica a favorite
amongst travel photographers.
So when I first picked up
the Leica SL (Typ 601) with its native Vario-Elmarit-SL 24-90mm f/2.9-4.0 ASPH
standard zoom mounted on the front, I could see that Leica had chosen to go a
different direction from its iconic, and compact, M system. While the
professional mirrorless SL offered ultimate flexibility with its autofocus L
mount, a class-leading feature set care of cutting-edge electronics and image
quality to spare, I honestly didn’t see how it was going to be an option for my
bare-bones adventures and minimalist approach.
But clearly Leica made the
right move with the system. Released in 2015, the groundbreaking full-frame
professional mirrorless SL quickly rose to the top of the MILC (Mirrorless
Interchangeable Lens Camera) market, out-performing its competitors and
creating a benchmark for future generations. Optically, the range of Vario-SL
lenses offered up razor-sharp, prime-lens quality in versatile zooms.
While these Vario lenses
became the bread-and-butter solution for many photographers over the last five
years, they were always just a tad too big for my compact travel bag. The SL
body, on the other hand, has accompanied me on several around-the-world
adventures, but almost always with M lenses using the M-Adapter-L. Weighing
only 6.6 oz more than the Leica M10, the Leica SL has proven to be a great
alternative for Leica M glass. In fact, in some cases I’ve found the SL more
capable over shooting with a native M body, especially with larger, exotic
optics. With its better-balanced and steadier grip, along with the expansive,
built-in high-resolution EVF (Electronic Viewfinder) with focus assistance,
challenging and often hard-to-focus lenses such as the Noctilux-M 50mm f/0.95ASPH are now that much more manageable and useful.
The Leica SL paired with M
glass using the M-Adapter-L makes for a nicely-balanced, high-performing setup
But despite the endless
combinations of SL, M and even R glass available to SL users, the system still
pined for a weather-sealed, compact prime of its own to complement its
impressive zooms and have a lightweight option for the less-is-more traveler
like myself.
Then along came the Leica
Summicron-SL lenses, and everything changed.
Part I – The Leica
APO-Summicron-SL Lenses
At Photokina in September
2016, Leica unveiled a new lens roadmap. Prominently featured, the new line-up
of APO-Summicron-SL f/2 ASPH lenses were significantly more compact than their
Vario siblings. At the time, Leica outlined plans for focal lengths of 75, 90
and 35mm, with the possibility of more to come. Mounted on the Leica SL, the
mock-up 75mm on the tradeshow floor glimpsed a future where the SL with its
native prime lenses could make for a viable, compact kit. All Summicron-SL
lenses would share many internal components like the Dual Synchro Drive AF
system, have identical outer lens barrel dimensions both in length and the 67mm
front filter thread, along with similar weights of 700-750g across the range.
Even more exciting, Leica’s lead optical designer, Peter Karbe, touted that
this forthcoming generation of lenses would set a new standard in optical
quality. “These primes redefine everything,” he gushed during an interview withmy colleague David. He went on to explain that the new Summicrons would have a
sharper point-of-focus area, while simultaneously yielding more separation
between focus planes with a faster transition from in focus to out of focus.
Simply put, Leica optical engineers found a way to bend physics and make an f/2
lens feel more like an f/1.4, resulting in an overall more three-dimensional
look. Smaller, lighter, better quality and gorgeous bokeh. Sign me up!
The Summilux-SL 50mm f/1.4
ASPH (Left) with the four APO-Summicron-SL lenses currently available
In early 2018, the first
of the Summicrons, the 75mm and 90mm, hit the market. And they did not
disappoint. Our own testing of the 75mm confirmed that the optical performance
Peter Karbe had promised wasn’t just talk or marketing jargon. (See for
yourself here.) However, as the 75mm and 90mm made their way into the camera
bags of many an SL shooter, they didn’t offer a solution for a compact
one-camera-one-lens kit. Few shooters use anything longer than a 50mm as a primary
lens, meaning SL-System shooters still had to lug around one of the heavier
Vario lenses or the 50mm Summilux to round out their kit.
So, when the
APO-Summicron-SL 35mm f/2 ASPH did make its debut in the spring of 2019, it
marked a new era for the Leica SL. For the first time ever, the SL with one of
its own system lenses made for an easy-to-carry single-lens setup. On paper,
the 35mm assured the same optical performance and “ooooh”-inducing bokeh as the
75 and 90mm. In fact, according to the numbers, the 35mm APO-Summicron-SL
looked to be one of the highest performing lenses to ever come out of
Wetzlar.
Number of optical
elements/groups 13 / 11
Number of asphericals 5
Focusing range 0.27m (10.6 in) to infinity
Smallest object field 120 × 180mm (4.7 × 7.1 in)
Largest reproduction ratio 1:5
Aperture setting range f/2 – f/22
Filter thread E67
Length to bayonet mount 102mm (4 in)
Largest approx. diameter 73mm (2.9 in)
Approx. weight 750g (1.7 lbs)
Of course, tech specs only
ever tell half the story. Each lens has its own personality. Its performance
has as much to do with sharpness as it does the way it renders colors, how it
transitions from out-of-focus areas to in-focus, what it looks like wide open,
and, in the case of the SL, the behavior of the autofocus. To truly understand
a lens, the only way is to actually shoot with it in a real-world scenario.
I was lucky enough to do
just that.
The Leica SL (Typ 601) and
Leica APO-Summicron-SL 35mm f/2 ASPH. (Taken with the Leica CL &
Summilux-TL 35mm f/1.4.)
Part II – The Boundary
Waters
Even though copies of the
freshly-minted APO-Summicron-SL 35mm f/2 ASPH were, and still are scarce, I was
lucky enough to secure a loaner for a four-day canoe trip through the Boundary
Waters Canoe Area Wilderness (BWCA) in Northern Minnesota. Canoeing, for anyone
who’s unaware, involves being around a lot of water, and my best options for
such a trip would be one of two rugged, weather-resistant Leicas currently on
the market: the Q2 or the SL (Typ 601) (This was pre-SL2). Normally, I wouldn’t
have hesitated to grab the Q2, but curious to try the new, travel-friendly 35mm
Summicron-SL, I opted for the latter. When better to step out of my boundaries
than in the Boundary Waters? Cheesy, I know.
The Boundary Waters is to
Minnesotans *raises hand* a revered place, feared and respected. “People get
lost. They die up there, ya know,” my mom assures me any time it’s mentioned.
The 2,700 square miles of glacially-carved wilderness is traversable only by
combination of foot and canoe. To say it’s remote is an understatement. With
1,100 lakes and hundreds of miles of waterways and hiking trails, it’s easy to
see how someone could get lost (and die) as my mother has warned. It’s also easy
to see why those seeking adventure and solitude *raises hand again* are drawn
to explore it.
The Boundary Waters lies
on the border of MN and Ontario | 1/100th sec, f/11, ISO 50
My adventure-seeking self
couldn’t turn down an invitation to tag along on a Boundary Waters trip last
June with my longtime friend Angie and her family, the Nelson’s. Her parents,
Paul and Lydia, were seasoned BWCA-ers. They knew the lay of the land (or
should I say lakes?), how to navigate, where to camp, what to pack – the list
goes on. It would be a perfect chance to get a taste for the Boundary Waters,
all the while catching up with close friends, and using the SL and 35mm
Summicron to document the excursion.
PREPARATIONS
Spending four days in the
wilderness comes with its own set of challenges, but as a photographer, there
are certain added hurdles. How would I charge my camera batteries? How much SD
card storage should bring? I’m generally a risk-taker and almost always a
minimalist, but when it comes to having extra batteries and SD cards, I make an
exception. Between borrowing and begging, I was able to rally up a total of
four batteries, one for each day. I also brought along a Nitecore USB SLbattery charger and a couple of external USB power packs, each good for a at
least one full charge, with one featuring a solar panel to keep topped up when
left out in the sun during the day.
The Nitecore USB Battery
Charger ULSL for Leica SL (Typ 601) & Q2 with power pack. (Taken with the
Leica CL & Summilux-TL 35mm f/1.4.)
In case of choppy waters
or harsh landings, I also mocked up my own waterproof “camera bag” – a Domke wrap
tossed into an 8L Sea to Summit dry bag. The SL is water resistant, but not
submersible. Better safe than sorry.
Makeshift waterproof
camera bag: A Domke camera wrap and a Sea to Summit dry bag. (Taken with the
Leica CL & Summilux-TL 35mm f/1.4.)
With the camera gear
sorted out, I had only to worry about the actual trip – ya know, the whole
canoeing, hiking, and camping part. As outdoorsy and athletic as I might be
considered – a frequent rock climber and hiker – I had actually never canoed
extensively, and the only camping I had done was at a drive-up site with shower
facilities. This was going to be real deal.
My biggest fear, aside
from running out coffee, was portaging. Those one-thousand-odd lakes don’t all
connect. At some point you have no choice but to lift the canoe over your head
and carry it between waterways. Some portages are short, only a couple hundred
feet; others can be well over a mile. Keep in mind, there’s still your canoe
pack to carry.
These fears were quickly
put to rest. The Made-in-Minnesota canoes we were provided with from ClearwaterOutfitters in Grand Marais were engineering marvels. With Kevlar hulls and
sleek lines, they were featherlight, roughly 40 lbs, and perfectly balanced – a
far cry from the bulky aluminum canoes we had at summer camp 20 years ago.
Our kevlar canoe by
Wenonah | 1/500sec, f/4, ISO 50
Aluminum canoes may be
bulky, but they do photograph nicely. Clearwater Outfitters, Grand Marais, MN |
1/2000 sec, f/2.5, ISO 50
Clearwater Outfitters,
Grand Marais, MN | 1/125th sec, f/2, ISO 3200
My buddy, Paul Bunyan.
Clearwater Outfitters, Grand Marais, MN | 1/640 sec, f/2, ISO 50
I also lucked out. The
boys ended up carrying the canoes at every portage. We were six in all: three
boys and three girls, one of each to a canoe. My paddle partner was Dan,
Angie’s little brother. The last time I had seen him he was a blonde,
shaggy-haired Luke Skywalker lookalike darting across our high school soccer
field. Now, he was a Seattleite, worked for an electric bike startup, and, like
any good Scandinavian, had a full red beard.
In the BWCA, paddlers
choose their own adventure. A route can be as casual or as aggressive as
desired. Our approach was a simple one: make camp in a single site then take
day trips to explore the surrounding lakes and trails. This strategy allowed us
to canoe, hike and portage unencumbered by our camping gear. We weren’t out to
cover great distances or break any records; we simply wanted to take in the
pristine beauty of the Boundary Waters and get a little closer to nature.
Into the Wild
Portaging to the entry
point on Bearskin Lake | 1/125th sec, f/4, ISO 125
After months of planning
and anticipation, it was finally time to set paddle. We were entering the
Boundary Waters via Bearskin Lake.All the lakes have great names like that.
“Elbow” and “Disappointment” are a couple of my favorites. After making the
four-hour drive up from Minneapolis, picking up the canoes, and sorting out our
fishing licenses, we simply wanted to make it to camp with enough time to
settle in and catch dinner.
Basswood Canoe Paddles |
1/250th sec, f/2, ISO 50
Getting our feet wet |
1/5000th sec, f/2, ISO 50
“Do you have somewhere you
can put your camera so it doesn’t get wet?” Dan asked as he steadied our canoe
and I climbed into the bow.
The Leica SL was slung
across my chest. I forget that most people panic anytime they see a camera near
water.
“It’s okay. It’s
weather-sealed. It could be pouring rain and it’d still be fine.”
“Well, that’s cool.”
Sure is.
The initial trek to our
campsite wasn’t far – only two paddles and one portage away. As we pushed off
with our canoes fully loaded, I pictured us from the shoreline, fading into the
that distant space where the lake meets the sky.
Mirror, mirror | 1/320th
sec, f/11, ISO 200
The canoe cut through the
water like a knife, silent and quick. I tried to match my strokes to its
rhythm, angling my paddle to break through the glassy surface just right,
becoming part of the water’s movement rather than interrupting it. I was
reminded of an essay by Boundary Waters conservationist Sigurd Olson where he
describes: “The way of a canoe is the way of the wilderness, and of a freedom
almost forgotten.” Looking out, knowing that the direction in which we were
headed held nothing but a vast, intimate wilderness, I could feel that freedom
almost forgotten.
Keeping Rhythm | 1/250th
sec, f/4, ISO 80
1/1000th sec, f/4, ISO 50
Our campsite was situated
on a forested point that jut out into the lake. As we pulled in our canoes and
ambled up the bank, we were greeted by a chorus of birdsongs. With spring
creeping into summer, our feathered friends were in peak breeding season and were
showing off their sweetest ballads and most striking plumage. Their orchestra
accompanied us as we set about our chores: raising the tents, kindling a fire,
and filtering drinking water from the lake. Periodically, the sharp
poor-sam-peabody-peabody-peadbody call of a White-throated Sparrow would pierce
through the chorus and keep us all on pace.
My home away from home |
1/640th sec, f/2, ISO 50
1/800th sec, f/2, ISO 400
Mosquitoes | 1/500th sec,
f/2, ISO 400
Of course, I wasn’t going
to be caught in a boreal forest during breeding season without a pair of
binoculars. I had brought along my mom’s Leica 8×32 Trinovid HD’s, a compact,
no-nonsense optic perfect for birding. It just so happened that Lydia, Angie’s
mom, had also become quite an avid birder over the years and brought her
binoculars too. I had a fellow bird nerd and a partner in crime. Throughout the
trip, Lydia would share with me her expertise of the area’s breeding birds and
their distinct calls.
The Leica 8×32 Trinovid HD
(Waterproof!) | 1/1600th sec, f/2, ISO 100 (Taken with the Leica CL &
Summilux-TL 35mm f/1.4.)
The Minnesota state bird:
the Common Loon | 1/3200th sec, f/2, ISO 50 (Cropped – 35mm isn’t the best
focal length for birding!)
After settling in, a few
of us took to the water to try our hand at fishing. Duncan Lake was quaint,
only a mile long at best. Its water was cold and clear, and allowed us see
straight through to scan the bottom for fallen trees and rocky hideaways where
fish like to congregate. We reeled in three beautiful Lake Trout. (None of
which I caught – too busy taking photos I guess.)
1/640th sec, f/2, ISO 50
Patience | 1/250th sec,
f/8, ISO 64
A lot can be learned from
fishing: patience, self-sufficiency, wildlife conservation and identification.
What I didn’t expect it to teach me, though, was how incredibly close the new
35mm APO-Summicron-SL could focus. While the boys cleaned our freshly-caught
dinner, I snapped away and awed at the lens’ ability to get up close and
personal. Wide open at its minimum distance of 0.27m (10.6in), the 35mm’s
incredible bokeh and soft transitions made even our dead trout look strikingly
beautiful. I thought back to Peter Karbe’s comment about how the new Summicrons
at f/2 would have the three-dimensionality of an f/1.4. I needed no further
convincing.
Freshly Caught | 1/250th
sec, f/2, ISO 50 (Minimum Focusing)
Lake Trout | 1/125th sec,
f/6.3, ISO 250
Dinner | 1/125th sec, f/2,
ISO50
For dessert, Lydia made a
gingerbread cake. I was baffled. Baking is a precise science. Ingredients need
to be exact and your heat source even. This was not a venture for ill-equipped
campers in the woods. Yet, I watched as she eyeballed measurements of water and
vegetable oil, poured the finished batter into a greased camping pot, and
nestled it into the glowing embers of the camp fire. How could this possibly
turn out?
Lydia | 1/125th sec,
f/5.6, ISO 640
Baking Cake | 1/125th sec,
f/2, ISO 500
It did turn out. Sure,
there were some overdone edges, but overall it was a perfectly-baked, moist
cake. Whatever I thought I knew about baking, I now know I know nothing.
Lydia’s science-defying
cake | 1/250th sec, f/2, ISO 3200
In the evenings after
dinner, we’d share a drink and line up along the shoreline, our eyes either
traveling across the pages of a good book or taking in the ever-changing colors
of the eternal summer dusk. I forgot how long the days were up north this time
of year, and was a little disappointed upon realizing that any astrophotography
would have to be done at the wee hours of the morning.
Duncan Lake | 1/125th sec,
f/11, ISO 640
Dan skipping rocks |
1/125th sec, f/8, ISO 250
Beneath the bear bag |
1/30th sec, f/2, ISO 3200
One evening, I set my
alarm for 2 AM. It seemed a shame to come all this way only to miss the stars
in a pure night sky, unpolluted by city lights. Although the moon was too
bright for any astrophotography, experiencing the lake at night was thrilling.
Beavers chattered and splashed on a nearby shore, loons echoed their infamous,
eerie calls across the water, and an anthology of frogs drummed a deep rhythm
in the background.
Moonlit Shores | 1/125th
sec, f/2, ISO 3200
Roots in the Moonlight |
1/8th sec, f/2, ISO 25000
We spent two full days
exploring the surrounding lakes and trails. Even though I was a
Minnesota-native, this part of the state was new to me, and I was eager to take
it all in. The Nelson family has a deep appreciation for nature, and I was awed
at their knowledge of everything around us. “What’s this?” I’d ask at almost
every turn. And without fail, an answer would bounce back. “Marsh Miracle, or
at least that’s what my grandmother used to call it.” From false morels to
alpine lakes, I discovered pieces of new pieces of the landscape that I called
home.
1/2000th sec, f/2.2, ISO
50
1/800th sec, f/2, ISO 50
Alpine Lake | 1/250th sec,
f/13, ISO 160
1/1250th sec, f/2, ISO 50
Paul | 1/250th sec, f/4,
ISO 100
Fallen Birch | 1/500th
sec, f/2, ISO 50
On the third day, we got
an early start and paddled to the opposite side of Duncan Lake to hike the
aptly named Border Route Trail, which snakes along the border between Minnesota
and Canada. Towards the beginning of the trail, we opted to take a quick detour
down to the Canadian water’s edge and discovered a lovely little fall along the
way. Ordinarily, I’m not big into photographing waterfalls. This cascade,
however, poured into a small moss-covered ravine that had something
Tolkien-esque about it.
“You guys keep going. I’m
going to stay here awhile.” I’d catch them on their way back up.
The Border Route Trail |
1/800th sec, f/2, ISO 50
I lowered myself into the
tiny Eden and promptly set to capturing its wonder with the Leica SL. At first,
I tried to frame the whole scene, but it didn’t take long to realize that its
true magic was hidden in the smaller details: light undulating over the ravine
walls, dew drops glistening on green moss, portraits of the oasis’ tiniest
residents.
Mossy rocks | 1/250th sec,
f/8, ISO 800
Waterfall Dew | 1/250th
sec, f/2, ISO 50
Frog | 1/250th sec, f/2,
ISO 160
The group doubled back
around after what felt like only a few moments but was probably a half hour in
non-photographer time.
“Did you get anything
good?” I showed them the picture of the frog and a “wow” echoed throughout the
group.
“It’s the lens, not the
photographer.” I joked.
Exploring the Border Route
Trail | 1/250th sec, f/4, ISO 125
By the time we finished
our hike and got back to the canoes, the wind had picked. Up until then, the
water had been calm and the paddling easy, but now the current was against us
and we had to fight our way back across Duncan. Dan and I found a necessary rhythm.
Our paddles and determination were in perfect sync. If we let up for even a
moment, the canoe would drift backwards. When we finally returned to camp, we
rewarded ourselves to a well-deserved beer and a refreshing (~60° F) cool-down
in the lake.
Paddling | 1/1600th sec,
f/2.5, ISO 50
A rewarding “Loon Juice”
hard cider | 1/16,000th sec, f/2, ISO 50
On the fourth and final
morning, we took our time packing up. We made a hearty breakfast, paddled the
long way back and took the scenic drive home. We even made a stop in Grand
Marais to have lunch on Lake Superior. Without speaking, we knew that each of
us wished we had just one more day. For me, I was already planning when I’d be
back.
Grand Marais, MN | 1/100th
sec, f/11, ISO 50
Grand Marais, MN |
1/2000th sec, f/2, ISO 50
Grand Marais, MN | 1/60th
sec, f/11, ISO 50
PART III: IMAGE PROCESSING
& FINAL THOUGHTS
Processing the images was
both incredibly easy and mind-numbingly difficult. Easy, in that the images
didn’t really need much processing at all. Difficult, in that I couldn’t just
leave an image alone, unprocessed. No photograph can really be perfect
out-of-camera, can it? Peter Karbe probably wouldn’t disagree in my saying that
Leica has nigh reached out-of-camera perfection with this sensor-lens
combination. Other than some minor white balance adjustments and highlight
recovery, all the photographs in this article have little to no processing.
As for the experience of
shooting the Leica SL and 35mm APO-Summicron-SL f/2 ASPH as a one-camera-one-body
lens setup, I was far from disappointed. The SL is solid; it’s built to be
taken off the beaten path and endure harsh weather. Though a bit bulkier than
what I normally carry, the extra durability and ruggedness offered a welcome
measure of reassurance. In fact, once home, it felt strange going back to
shooting with my Leica CL and Q again. Compared to the SL, the smaller cameras
both felt a bit toy-like, despite knowing the exceptional image quality they
offer.
Paired with the new Leica
Q2, the SL (Typ 601) or SL2 with a compact Summicron-SL lens makes for a
complete weather-sealed kit that fits nicely in a mid-sized shoulder bag such
as the ONA Bowery pictured here.
With the new Summicron-SL
lenses offering the possibility of a more travel-friendly kit, the SL is set to
become a go-to for adventure-seeking photographers. Pair a 35 or 50mm
APO-Summicron-SL with the 75 or 90mm, along with a Q2 with its 28mm f/1.7 for a
fast wide-angle, and you’ve got yourself a complete rugged, weather-sealed kit
that barely fills half of a backpack. Heck, I might have to start looking at
used SL’s – especially now that the SL2 has hit the market and used SL (Typ
601)’s have settled in at an affordable price.
The bottom line is that
the APO-Summicron-SL 35mm is simply an incredible lens which pairs beautifully
with the Leica SL. It lives up to the hype and has convinced me take a fresh
look at the SL System for my adventure-focused photography.
For other articles on this blog please click on Blog Archive in the column to the right
To comment or to read comments please scroll past the ads below.
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For other articles on this blog please click on Blog Archive in the column to the right
To comment or to read comments please scroll past the ads below.
All ads present items of interest to Leica owners.
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