LEICA Barnack Berek Blog: THE DEFINITIVE GUIDE TO LEICA S LENSES

By David Farkas, LeicaStore Miami

With the recently introduced Leica S3 now finding its way into the market, many photographers are taking a fresh look at the S-System. And while much of the attention is focused on the fourth-generation medium format DSLR and its brand-new 64-megapixel sensor with 15-stops of dynamic range, some may not be familiar with the range of lens options for the camera.

Given the maturity of the Leica S-System, the S3 has the advantage of launching with a full lens ecosystem. There are nine native autofocus lenses, broken down into eight primes and one zoom. Also in the range is a manual focus 120mm tilt-shift for tabletop photography, but I’ll be covering the more general use autofocus lenses in this article. When the first-generation S2 camera debuted in 2008, it did so alongside two initial lenses, the 70mm and 180mm. Shortly after, a 35mm and 120mm joined the ranks, forming the core optics of the system. Then, over the coming years, further designs filled in the gaps.

I’ve been shooting with the S-System since it launched and have had the pleasure of using the entire range of S glass extensively for my photography. Indeed, the S2, S (Typ 006) and S (Typ 007) became the workhorses for the majority of my landscape endeavours over the last decade. And no matter the conditions or how much abuse I’ve put them through, the cameras and lenses have always delivered.

That’s a lot of S lenses

Understanding the 0.8x crop factor and why it matters

Because the S Pro Format’s 30x45mm sensor size is roughly 60% larger than a full frame 24x36mm sensor, we must employ a crop factor when calculating equivalent focal lengths. But, unlike APS-C or Micro Four Thirds, the factor isn’t additive where equivalent focal length increases. Rather, the lens factor here is 0.8x, meaning we’ll end up with smaller numbers, or wider equivalent focal lengths, than what we start with. The math is simple. Just multiply the S focal length times the factor and you’ve got your FF equivalent. For example:

30mm X 0.8 = 24mm

But this is somewhat of an oversimplification, and glosses over one of the biggest advantages of larger format sensors. Essentially, we’re getting less distortion with a wider field of view. Let me explain.

Equivalent Focal Length

Focal length is focal length, regardless of crop factor. So, a 24mm is a 24mm, no matter what. Give that a second to sink in. Alright, but didn’t I just say that we had to use a crop factor? Yes, but that’s simply to arrive at equivalent focal length, which relates to field of view (FOV). The measured focal length never changes. Let’s dive a little deeper with a couple examples.

On a Leica S, a 24mm has the equivalent field of view of a 19mm but retains the distortion and optical characteristics of a 24mm. Because it is a 24mm, not a 19mm. So, in the image below, I didn’t have to worry as much about keystone distortion when tilting my lens up to compose the waterfall and double rainbow. The resulting image is expansive but not warped.

The same goes for longer lenses. The 45mm has a very natural look since it behaves like a standard 50mm while offering the more capacious view of a 35mm equivalent. Here’s an environmental portrait I shot of an innkeeper in Iceland. Even though I’m physically close to the subject with a 35mm equivalent lens and positioning him away from the center of the frame, there is no distortion. And at the same time, I’m able to capture more of the surroundings to set the scene.

For even longer lenses like the 120mm, you get the pleasing compression of the 120mm but a more flexible working range of a 90mm due to a wider FOV. Hopefully this is making sense. But there’s more than just equivalent Field of View.

Equivalent Aperture

Like focal length and field of view, aperture requires a bit of a conversion as well. Luckily, the math is equally straightforward. We can apply the same crop factor of 0.8x, but this time to the aperture value to get an idea of how an S lens will behave relative to a full frame optic.

f/2.8 x 0.8x = f/2.2

But, things are just a tad bit more complicated here. Given our equation, an f/2.8 lens on the larger sensor S camera behaves like a faster f/2.2 lens on full frame, right? Well, not really. See, the catch is that this only relates to depth of field (DOF), not to exposure.

Aperture impacts two important aspects of photography. The first, which coincides with our crop factor, is depth of field. A smaller number indicates a wider opening, which results in less DOF and smoother bokeh. Here’s an extreme example. Both images were shot with the Summicron-S 100mm. The image on the left was taken stopped down at f/11, while the image on the right was wide-open at f//2.

The second impact of aperture is for determining exposure, and is one of the three pillars of exposure theory. The physical aperture in the lens, also known as the entrance pupil, allows varying amounts of light to pass through the lens to the sensor. Wider apertures mean more light, which in turn has a direct relationship to shutter speed and ISO sensitivity, the other two critical variables for exposure.

Now, in this case, just as focal length remains an unchanging measurement, an aperture of f/2.8 is an aperture of f/2.8 regardless of format, at least with regards to exposure. So, even though our f/2.8 lens might have the equivalent depth of field to an f/2.2, it is still an f/2.8 for light transmission and exposure purposes. Yes, the volume of total light passing through the lens is greater, but that is a different discussion.

Optical Excellence

S lenses don’t need software correction. In the EVF of a live view camera, lens corrections are performed in real time. But, when you gaze through the large, clear optical finder of the S3, what you see is what you get. That perfect, bright edge-to-edge view with no vignetting? That’s not software engineering, that’s simply outstanding optics.

All lenses are exceedingly sharp and offer outstanding color and contrast. Floating lens elements are utilized for optimizing performance across the entire focus range. Exotic glass types and aspheres are employed to provide corrections, minimizing or eliminating all aberrations, distortion and fall-off. And the resulting images are anything but clinical. Rather, they produce some of the most natural and realistic rendering of any Leica glass.

Leica S (Typ 007) with 120mm APO-Macro-Summarit-S ASPH

There are no weak performers in the range. Each lens shines in its own right and has its own characteristic feel. For instance, the 70mm is loosely based on the 50mm Summilux-M ASPH and shares many of its pleasing attributes, like forgiving skin tones and buttery smooth bokeh. The 100mm tends to remind me of a 75mm Noctilux-M with its ridiculously shallow plane of focus and lovely fall off. And the ultra-wide 24mm evokes the feel of the best M wides with tack-sharp precision, flat field reproduction and punchy color.

Weather Sealing

Being designed from the ground up, the S-System and all its native AF lenses are completely weather and dust sealed with numerous rubber gaskets inside and out. Front and rear elements are coated in Aqua Dura©, a hydrophobic treatment which repels water and promotes beading, making for easy cleaning. I’ve personally shot for hours in pouring rain, snow and hail, as well as standing under my fair share of waterfalls. Never has the S failed me. The system is rock solid and built for the great outdoors.

S-System Lens Options

Let’s take a look at the entire range one-by-one. I’ve thrown in a small selection of sample images for each lens. You might also notice that I managed to represent all four generations of Leica S cameras. And if you’re looking for quick reference chart with equivalent focal lengths, apertures and filter sizes, I’ve got you covered with one at the end of the article.

Super-Elmar-S 24mm f/3.5 ASPH

Equivalent to a 19mm f/2.8 super wide

The 24mm Super-Elmar is an absolute champ for wide angle landscape photography. Paired with the live DOF readout on the top display of the S007 and S3, I can set my aperture to f/11 and dial in a perfect hyperfocal distance in seconds. Everything from 2.5m to infinity is tack sharp for every single shot, freeing me to concentrate on composition, framing and exposure. The 24mm is also my go-to for northern lights photography and architectural interiors.

Leica S (Typ 007) with Super-Elmar-S 24mm f/3.5 ASPH\

Leica S (Typ 007) with Super-Elmar-S 24mm f/3.5 ASPH

Leica S (Typ 007) with Super-Elmar-S 24mm f/3.5 ASPH

Leica S3 with Super-Elmar-S 24mm f/3.5 ASPH

Don’t let the maximum aperture of f/3.5 put you off. Given the massive 95mm filter size, imagine how much larger and heavier a faster lens with the same performance would have been. A mere half stop off f/2.8 is a small sacrifice for everything else the lens does well.

Elmarit-S 30mm f/2.8 ASPH

Equivalent to a 24mm f/2.2 wide angle

Sharing almost the same design as the slightly longer 35mm, the 24mm equivalent field of view makes the 30mm Elmarit a winner for landscape, reportage and travel shooting. A bit easier to manage for general photography than a true ultra-wide, 24mm is always a useful focal length that I also use frequently in both the M and SL. If the 19mm equivalent field of view of the 24mm Super-Elmar-S is too unwieldy for you, the 30mm Elmarit-S should be just right. This lens is sharp, distortion-free and offers wonderful color.

Leica S (Typ 007) with Elmarit-S 30mm ASPH

Leica S (Typ 007) with Elmarit-S 30mm ASPH

Leica S (Typ 007) with Elmarit-S 30mm ASPH

Leica S (Typ 007) with Elmarit-S 30mm ASPH

Summarit-S 35mm f/2.5 ASPH

Equivalent to a 28mm f/2 wide angle

One of the original four system lenses and the first wide angle to be offered for the S, the 35mmSummarit is also one of the fastest lenses in the system. With a maximum aperture of f/2.5 and a forgiving 28mm equivalent field of view, the 35mm Summarit-S is a great choice for low light and street photography. If you enjoy the 28mm lens on the Q or Q2, you’ll feel right at home with the 35mm Summarit. I also feel that while similar to the 30mm, the 35mm does have a bit more subtlety and nuance.

Leica S (Typ 006) with Summarit-S 35mm f/2.5 ASPH

Leica S (Typ 006) with Summarit-S 35mm f/2.5 ASPH

Leica S2 with Summarit-S 35mm f/2.5 ASPH

Elmarit-S 45mm f/2.8 ASPH

Equivalent to a 35mm f2.2 wide normal

The 45mm Elmarit is perhaps my favorite and most used lens in the S-System. The equivalent focal length of 35mm makes it an infinitely useful and flexible tool for walkaround photography and landscape alike. And while the maximum aperture of f/2.8 appears underwhelming, the resulting images shot wide open have incredible three dimensionality to them, perfect for environmental portraiture and general travel usage. And of course, the 45mm Elmarit-S is amazingly competent for landscape shooting as well, with edge-to-edge sharpness and decent depth of field when stopped down. Basically, the 45mm is a jack of all trades and master of all.