Quick Shot: Alone

It was a long hike to get this photo.....well, it was a long hike where I got this photo! After several miles of uphill through a swampy and overgrown mountainside in Wales, I began descending a steep rock face. Looking up along the cliff during my descent, I found this lone tree perched on the cliff. A lone tree would have been photographic, but the bizarre crooked shape of this tree really made the shot!

Photographed with the Leica SL and Leica f/0.95 Noctilux lens. 

image.jpg

Quick Shot: Never Too Late To Turn Around

I hate nothing more than a blown opportunity at a photograph. To think about the photos that "should have been" makes me sad and frustrates every part of my creative spirit. So, as a general rule, I try to avoid "should have been" photos.  

I flirted dangerously with a "should have" photo while in the Lake District. I had done the research to find a great location to setup for sunset and I went out an hour before sunset to setup and prepare for whatever Mother Nature had in store for me. The sun was slated to set around 9pm- at 8:30 it was looking pretty bad. The sky was full of a thick layer of grey clouds - the sun was lost behind it and there was no color to be seen. Cold and downtrodden, I called it around 8:40 - there was no way this dull sky was going to amount to anything. 

As I drove back to the campsite, my friend and I got busy chatting about the otherwise good day. About 10 minutes into the drive, I looked in the rear view mirror and all I saw was neon pink...... The sky had turned a shade of pink I had never seen before - I was incredible - and here I am driving AWAY from it! At this point the sun is about to set, but I peeled a quick U-Turn and hauled ass back to the spot we'd been setup at earlier. Thankfully I arrived in time to get some great shots of the neon pink reflecting off the water - there is very little editing in the images below... It was that good! 

There's a lesson here..... Don't give up on your photograph. And if you do, it's okay to turn the car around!  

Shot with the Leica SL and Leica f/0.95 Noctilux Lens.

Yes, it really did look like that. Very minimal edits done to this image.....

Yes, it really did look like that. Very minimal edits done to this image.....

The last drops of pink in the sky. I love how it turned the water pink.

The last drops of pink in the sky. I love how it turned the water pink.

Storytelling with the Leica Noctilux

What happens when the most brilliant engineers and lens design specialists spend decades perfecting the already near-perfect lens? You get the Leica Noctilux-M ASPH f/0.95 lens.

I can rewind to a year ago… it was about this time that I started looking to purchase my first Leica M camera - a Leica M-P (35mm film). Although I knew the reputation and brand, the specifics of the brand lineup and offerings were new to me, so I spent hours reading blogs from Thorston Overgaard, Ming Thein, Steve Huff, and others to absorb as much as possible about the Leica system. In all of this reading, I kept seeing mention of this lens, the Noctilux.

When Noctilux is mentioned online, it’s usually in one of two contexts: 1) Holy crap that thing is expensive and you must be nutty to spend that much on a lens or 2) This is the best lens ever made, and its performance justifies the price tag.

Seeing the $11,000 price tag of the Noctilux for the first time literally took my breath away. I sided in camp #1 - the “you have got to be kidding” camp. I already had sticker shock over the $2,000 of the ‘basic’ Leica lineup - how could another $9,000 improve on a lens that was already supposed to be one of the bests in the world? It’s not like Leica makes bad glass or cheap lenses!

For months thereafter I gave the Noctilux very little thought. Occasionally I’d bump into some review or post about the Noctilux and would read it, amused and wishing for the type of disposable income that could make that a reality…. the same way I also wish for a sports car and private yacht. 

Click on any image for a full-sized preview.

Once Upon a Time

There are lots of websites covering the history and legacy of the Noctilux, so I’ll sum it up simply. There are three versions, but only two were produced in large numbers: the f/1 and f/0.95 model. Done.

In my opinion, the real history and legacy of this lens hasn’t been written. We’re at the “once upon a time” part in Noctilux history….. Once upon a time there was a lens, called the Noctilux. It was adored, expensive, and specialty, but it hadn’t realized it’s true potential as a lens. Then one day a camera named Leica SL came along, and it was a perfect union of technology and optics. Finally, the Noctilux lived happily ever after.

Ok, that was a bit cheesy, even for me, but the point stands. The real potential - no, the real value - of the Noctilux is unleashed when it is mated with the Leica SL Type 601. 

The Noctilux Epiphany

When Leica announced the new SL Type 601 camera in late-2015, I was completely head-over-heels with the system. It was a great fit for my photographic style and would allow me to finally separate from some of the Nikon equipment I’d been holding onto. I sold everything that didn’t have a red dot affixed to it and went all in on the Leica SL. It’s been a phenomenal decision! But what I didn’t realize at the time was that the Leica SL would be the driving factor for my desire to get a Noctilux, and as much as this review is about the Noctilux, I cannot overlook the relationship to the camera behind the lens.

If you are not familiar with the Leica SL vs the traditional M-series, then there is one very important key difference you must understand going forward. The SL uses an electronic viewfinder instead of the rangefinder to focus. A common issue with the Noctilux when used on the M rangefinder bodies is the need for precise calibration between the rangefinder and the lens - but the SL’s electronic viewfinder negates this issue. Looking through the eyepiece, you see exactly what the sensor sees, leaving no doubt that you nailed the focus even when shooting with the razor thin f/0.95. There are plenty of other differences between the camera systems, but the focus mechanism is most relevant to our discussion here.

Ironically, in my decades as a film and digital photographer, I have only ever owned one 50mm prime lens. It was a cheap Nikon lens and I only used it for infrared photography. Prior to the purchase of a Noctilux, I had maybe only ever taken 200 photographs with a non-Leica 50mm prime lens…. a focal length regarded as one of the best. I wouldn't say that my lack of 50mm use was intentional - I used a lot of zoom lenses that covered that focal length and didn’t see the value in owning a prime lens that replicated the functionality of a zoom lens.

When purchasing the Leica SL, I nearly fell into the same trap again. I purchased the Leica Vario-Elmarit-SL 24-90mm ASPH zoom lens, which is an absolutely magnificent lens, to shoot on the SL body. Again, I told myself that I had a zoom lens that covered 50mm, why would I need another 50? I already had a Leica Summilux f/1.4 that didn’t get much use, did I need another (and far more expensive) 50mm lens?

Storytelling

Photography is about storytelling. It’s about capturing the emotions, expressions, feelings, mood, and world as it existed in that instant. It’s become easy to forget about the storytelling element of photography - we’ve become numb to having a camera and what that camera affords us. For instance, I will use my iPhone to take a snap of ingredients in a recipe book before I go grocery shopping, but that’s hardly storytelling. Likewise, as a Nikon shooter, I was too focused on technical perfection via equipment and accessories, and not focused enough on the story. That’s not to say Nikon equipment couldn’t allow me to be a storyteller; there are many phenomenal photographers who use that brand to create masterpieces. But storytelling is what Leica specializes in, more so than anything else.

You see, Leica doesn’t produce a lens that costs $11,000 for the sole reason of pointing out their technical superiority. They produce that lens because they know that, for the people who can afford it, that lens offers storytelling opportunities that no other lens can compete with. Leica’s emphasis on the essentials and manual controls force the photographer to think about the story they are telling when they click the shutter.

I didn’t buy the Noctilux because I was looking for a 50mm lens. I bought the Noctilux because I realized the opportunity that lens represents; the opportunity to tell a story in a way most other lenses cannot. That difference lets my work stand apart, and I value the opportunity the Noctilux offers enough to pay for the opportunity. Of course, if you saw my initial preview of the Noctilux, you know I didn’t spend anything close to $11,0000 either!

The Elephant in the Room - Price

So let’s explore the price. Chances are, if you read this far, you’re hoping that I’ll blow you away and the photographs will change your opinion of the lens, or you already understand the price and accept it at some level. Either way, price is what makes this lens so polarizing and yet so interesting. 

Considering the retail price of $11,000, the Noctilux is arguably the most expensive manual focus, manual aperture selection, fastest prime lens available. That’s right, you’re not paying big bucks for incredible autofocus or image stabilization…. it doesn't even have those features. What you are paying for is a lens that laughs at darkness and is crafted with incredible precision. And if you value quality, incredible feats of engineering and some storytelling opportunities, then the Noctilux’s price isn’t that crazy.

The glass used on the Noctilux represents the best-of-the-best. Leica saves the clearest and most perfect glass for this lens; it’s rumored that just manufacturing the glass elements takes years. And then the lens is assembled by hand to the most exacting specifications and tolerances. While I don’t know if it’s true or not, it’s been said that Leica makes almost no profit on the Noctilux because the overhead cost to produce is so high. Leica does make some overpriced collectors edition cameras and lenses that are artificially price inflated, but the Noctilux is not one of those.

The Feel of a Noctilux

I never held a Noctilux until the day I purchased mine. I knew that it’d be hard to put down if I ever picked it up, so I limited myself too drooling from across a locked glass display case. When I finally held the Noctilux for the first time, I was shocked by the sheer amount of glass in the lens. It’s a heavy sucker, no doubt the heaviest M lens in production, but on the SL body, the weight counterbalances the camera body nicely. The combination is similar in size and weight to a more traditional dSLR setup. The Noctilux on my M7 is another story - the body is not heavy enough to counter the weight of the lens, but this is one of those times when my mom would tell me that I can’t have my cake and eat it too. You can’t ask for f/0.95 and not sacrifice some weight. Pick your priorities and Leica’s probably got a lens to suit them.

When I was shopping for the Noctilux f/0.95, I took the time to compare it to the older f/1 Noctilux for image aesthetics, feel, etc. I reviewed the differences in my Noctilux Preview, so I won’t repeat it here, but there were two differences in feel that I’ll cover. 

First, the f/1 Noctilux was much stiffer when rotating the focus ring. While it could have just been the unit that I sampled, the stiffness of the focus ring was no where close to the smooth, yet firm, of the f/0.95 Noctilux. I realize that smooth and firm are contradictory statements, but that’s precisely how you want the focus on a lens like this to work; smooth enough that it takes little effort to rotate the ring, but stiff enough that it doesn’t turn unless you turn it. The focus ring on the Noctilux is perfect, and I hope it feels exactly the same as it does now in 10 years.

Second, the lens hood on the f/1 Noctilux did not lock in place, and a strong stare could have retracted the lens hood. While lens hoods are designed to prevent flare, I primarily use them as a front element bumper. I’d rather the lens hood get dings and scratches than the front glass elements. Therefore, a hood that doesn't stay securely extended is of no value to me. The f/0.95 hood pulls out and turns to lock into place. This design is far better, but I have encounter the lens rubbing along the side of my body when carried on a strap is often enough to unlock the hood. 

Noctilux as a Landscape Photographer’s Lens

Most of the reviews you’ll find on the Noctilux focus on it’s application for street and portrait photography, but I’m not a portrait person, so I will instead discuss the Noctilux as a street and landscape photography lens.

Landscape and street photography have many similarities, which is why I’d argue the Noctilux is so good for both. In these fields, photographers are often trying to use light and the surroundings to portray the subject. Whether it is grassy fields or a busy market street, the razorr thin depth of field on the Noctilux allows the photographer to isolate their subject, while maintaining as much (or as little) of the surroundings to story tell. The biggest difference between the photographic fields is the amount of time afforded to the photographer; street photography requires split-second decisions, while landscape photography is often at a more relaxed pace. Yet with proper technique, the Noctilux serves both admirably.

I have become partial to the Noctilux for landscape photography. Using the unique Noctilux look, I’ve been able to isolate a small patch of grass in a sunbeam or individual pieces of straw in a way that none of my previous lenses have done. Several people have commented that the landscape photographs I’ve taken using the Noctilux look “dreamy” and “surreal” - as though they were taken in a mythical place. Whether or not that is my intention is irrelevant (although it is)….. it’s a comment I’ve never received on my photographs taken with another lens. And that, my friends, is why this lens is so special. Viewers notice the look.

I split time as a color and black and white photographer - color for landscapes and nature, while street and urban photography is entirely black and white. For both applications, the Noctilux is incredible. The color rendition is fantastic; I used to always adjust the saturation in Adobe Lightroom, but its almost unnecessary with the incredibly sharp and vibrant colors captured in the RAW DNG files using the Noctilux. 

Technical (in)Perfection

The Noctilux is proof of what incredible engineering can give us - it pushes the boundaries of lens design in many regards, most notably for it’s incredible f/0.95 aperture. Yet for it’s technical accomplishments, there is one nasty side effect that you will face…. Chromatic Aberration.

Chromatic aberration usually occurs in the highlights where those highlights meet a strong dark and contrasty area of the image. For outdoor photographers, we’ll often associate chromatic aberration with the purple outline where tree limbs and bright sky meet. 

I hate chromatic aberration - but it’s an artifact of digital photography that we cannot escape, just like dust is an artifact in film photography. Unfortunately, at f/0.95, the Noctilux has very strong chromatic aberration, probably some of the worst I’ve ever seen in a lens. Stopping down even just to f/2 resolves all of the chromatic aberration, but at the cost of the storytelling benefits of f/0.95. Again I face the cake vs eating conundrum, and I choose cake….. to shoot at f/0.95 and deal with it in Lightroom.

Lightroom, Photoshop and Adobe Camera Raw all have great chromatic aberration removal tools available, and a shallow depth-of-field Noctilux shooter should get familiar with them quickly. Even when I convert to black and white, I will take the time to resolve the chromatic aberration to prevent weird tonality changes. 

Delivery

The Leica Camera marketing team clearly wants you to feel special if you’ve spent $11,000 on alens, so they’ve packaged the Noctilux far more luxuriously than the other lenses I’ve owned. The exterior box is the traditional silver and black cardboard affair, but it’s big enough that I could store a pair of shoes in it. All the talk about how big the Noctilux is compared to other 50mm lenses in the Leica lineup isn’t helped when the box is that big!

Inside the box is the usual buffet of Leica paperwork: an instruction manual (sort of funny, if you think about it), a guarantee card, a certificate of inspection, and Leica Passport card. Remove the foam insert holding these pieces and you are rewarded with yet another box. This box is solid black with the Leica Camera logo stamped on the top and with a ribbon latch. Except for it’s large size, you could mistake it for an engagement ring box- which might have been Leica’s intention. If you buy a Leica Noctilux, you’ve become married to the brand? Untie the ribbon latch and inside the box rests the lens… on a silky pillow. With this sort of presentation, I’m a bit surprised the Noctilux doesn’t include a pair of white gloves for handling!

Final Verdict - to Noctilux or No?

I love the Leica M system - there is something very genuine and raw about taking images with a rangefinder body. While I own what is arguably one of the best lenses for the Leica M bodies, it’s not my go-to shooting lens, because of it’s size and semi- temperamental focus. This isn’t to discount the work of the photographers who do like the Noctilux and M body combination - kudos to them for their success. But if I didn’t own a Leica SL, I wouldn’t own a Noctilux.

With the SL, the Noctilux is a completely different lens. You can nail tack sharp focus on every shot; it becomes easy to shoot with the Noctilux. I was at a photography trade show recently and several Leica employees engaged in a discussion of the Noctilux + SL combination. Apparently many of them share my opinion: that the Noctilux is a different animal on the SL. The Leica SL is everything I didn’t know I wanted in a camera, and the Noctilux is the lens I never knew I needed. Combined, they are the right tools for me to great artwork. They aren’t the right tools for everyone, but with the Leica SL and the f/0.95 Noctilux, I’ve found my combination - one that provides me with new storytelling and artistic opportunities.

Review: How Does the Leica SL Like the COLD?

When Leica announced the new SL (Type 601), they marketed the camera at landscape photographers. Features like the solid aluminum body, GPS, and extensive weather sealing all appeal to a clientele that is notoriously abusive of our cameras. The marketing worked, and I ditched my remaining Nikon equipment and went ‘all in’ on the Leica SL system.

In my review of the camera, I tested it in a variety of routine environments: light rain, sand, and some chilly weather. But for Leica to really compete with the Nikon and Canon market, they had to produce a camera that could keep up and tough it in the most extreme conditions.

For five days, I used the Leica SL in the far north of Sweden in conditions beyond what Leica recommends - that would be conditions of extreme cold. During this five day period, the outside temperature never rose above freezing - most days the daytime high was -30*C. That’s bitter cold. 

It's so cold that it's beyond the suggested working conditions of the Leica SL, as stated by Leica (approximately 0-40*C).

It was colder outside than my household freezer; I could have used a freezer to 'warm' the camera from being outside!

I have used a Nikon D610 and D800 in similar conditions, so I needed the Leica SL to perform equally (or better) than those cameras in the extreme cold. Hours of unprotected exposure to these type of temperatures is hard on anything, but the Leica SL handled the weather with the grace you’d expect from a company that prides itself on exceptional engineering and design. 

Overall, the Leica SL’s performance was outstanding. 

I carried the Leica SL on a heavy duty strap made from the same material as seat belts..... no reason for risks in this environment!

High Points

  • Batteries: The first thing someone shooting in extreme cold stresses about is the battery life of their camera. I carried two extra batteries in a coat pocket along my chest to keep them warm, and found that three batteries was more than enough for me to shoot all day without having to stress about having enough juice. Of course the battery performance in the cold was not as good as the battery is during the day; I easily got about two hours of continuous use. Once a battery started to get low, I would swap it with another and re-warm that battery, which extended the life of them significantly. For comparison sake, the battery in my GoPro Hero 4 lasted about 15 minutes in the cold before I had to replace it……

    It is worth noting that the Leica batteries will not charge if they are too cold. After bringing the Leica SL back indoors, it took about 45 minutes before the battery was warm enough to start to re-charge.

    Finally, I encountered one incident where I had some snow melt on the o-ring for the battery and then re-freeze when I took the camera back outside. I had to warm the battery hatch area a little for the battery to eject as it froze in place. Once I realized this was a potential issue, I was careful to make sure the battery didn’t have any moisture on the o-ring before inserting it into the body and I never had another issue.
     
  • Ergonomics: I wrote about the great ergonomics of the Leica SL in my complete review, but the controls feel very different when using them through thick mittens and glove liners. While it was possible to use the Leica SL with bulky gloves, it was cumbersome, so I normally just used glove liners when shooting.
     
  • Toughness: For a camera that costs as much as the Leica SL does, I wasn’t exactly gentle with it on this trip. The camera went dogsledding, snowshoeing, snowmobiling, hiking, etc. It was dropped a few times and I tripped snowshoeing and landed on top of it, burying it several inches into the snow. It was accidentally banged and bumped. Yet for all this abuse, the Leica SL looks like it has spent the last few days relaxing on a shelf…. no scratches, chips, dents, etc. 

Weather sealing, one of the selling points of the Leica SL, was critical in this environment. I also was extra careful to turn off the camera during long periods between shots to preserve precious battery life. PS - that's the Really Right Stuff L-plate on the camera.

I might be crazy to subject a camera this expensive to conditions like this.... but the Leica SL proved it has a "don't give a damn" attitude about the cold!

Weak points

Using the Leica SL in these extreme conditions caused me to find a few points where improvements could have been made to improve the shooting experience in the extreme cold:

  • Disable touch screen: With bulky gloves, I kept accidentally hitting the touch screen, causing the camera to re-focus or otherwise do something I didn’t really want. It’s not fair to blame Leica for my clumsiness when I’m dressed in a billion layers, but I never had this problem with a Nikon because there wasn’t a touch screen! A software update where I could opt to disable the back LCD’s touch function would be appreciated.
     
  • Freezing to me: Solid metal construction can actually be a bit of a curse when it’s -30C! I would hold the Leica SL up to my eye and experienced a few times where the body of the camera was so cold that the condensation of my breath would cause the camera body to freeze to my face. HA! I’ve always joked that I have a camera glued to my face, but that really re-defined it! Solution: pack gaffers tape and lightly tape the metal areas along the bottom left as a temporary barrier against the cold.
     
  • Locking lens hood: The hood on the Leica 24-90mm lens is very good and clicks into place solidly in normal conditions, but the cold caused the lens hood to knock loose more often than in normal temperatures. Nikon has a metal latch on the 24-70mm, and that would have been very handy in these conditions as I frequently was having to check to ensure the lens hood hadn’t dislodged from the lens. 

The all metal body of the SL did get so cold that I had to be careful of it freezing to my face. The fix for this was easy - a little gaffers tape on the metal side protects the cheeks!

The Leica M7 joined the freezing party and, like the Leica SL, had no objections to the super cold temperatures.

Leica marketed this camera at photographers like me…. it worked, and I couldn’t be more glad that it did! The Leica SL performed exceptionally in an environment where most electronic devices just roll over and die. If you have been waiting to jump on the Leica SL train because of concerns with the camera’s performance in crazy environments, don’t hesitate. It would be a real challenge to subject the Leica SL to treatment more cruel than what I put it through this week, and I’m now even more confident in the incredible engineering and performance of this machine!

Confirmed - it was cold!

Really Right Stuff L-Plate for the Leica SL

When Leica released the Leica SL (Type 601), they targeted the camera at landscape and nature photographers; a group of folks who frequently use tripods. When I got my SL body, one of my first projects was to rummage through my drawer of L-plates and tripod base plates to find a suitable choice for this body. Unfortunately, makers like Really Right Stuff have not introduced a plate specifically for this camera, and the ones I already owned were too big to suit.

Thankfully, Really Right Stuff has a great website and support team. After a few emails and pulling out the calipers to measure against their blueprints, I decided to purchase the Really Right Stuff MC-L Multi-Camera L-Plate for my SL. 

Turns out, it fits like a glove! The plate mounts snug to the bottom of the camera while not being oversized. In fact, the plate leaves space so that the battery hatch and release switch can be accessed without removing the plate- a huge plus.

The Really Right Stuff MC-L plate weighs only 3.2oz and has the quality I've come to expect from their products. With this plate securely mounted, I can now use my acra swiss style clamp on the tripod to get photographs in both the horizontal and portrait orientation while keeping the weight of the camera over the center of the tripod.

I'll be putting the plate to the test next week when I head into the Arctic to shoot the aurora borealis, but I have every expectation that it will handle the task admirably! 

The Really Right Stuff MC-L Multi-Camera L-Plate

Solid construction and dovetail grove for acra swiss style tripod clamps

The Really Right Stuff L-plate mounted to the bottom of the Leica SL

The length of the L-plate, when mounted in the second slot like pictured, still leaves space to access the battery hatch and release. 

The plate is almost the same width as the Leica SL body. It is just barely wider, but the extra width is almost unnoticeable. 

If I needed to access the connections on the side, I could mount the plate on one of the other slots to permit enough clearance.

The plate would not interfere with a strap that went through this side of the body and gives plenty of clearance for all types of straps.

Behind the Scenes: Shuttleworth Collection of Historic Aircraft

It's dangerous to let me loose with a camera around historic aircraft - I absolutely love to photograph these flying machines! I could spend hours capturing every little detail, especially when the aircraft carry real historic value. 

Every year, the Shuttleworth Collection, which is a private collection of historic aircraft maintained by volunteers, opens the doors to their workshops for visitors to see behind the scenes of what it takes to maintain and keep 100+ year old aircraft airworthy! The collection, which aims to preserve the airworthy nature of these aircraft, many of which are the only remaining flyable ones left in the world, spent almost a half million British pounds ($750,000) to achieve this goal in 2015.

With my Leica SL in hand, I spent several hours photographing the inside of the workshops, which are normally closed to visitors. This provided me with a rare opportunity to see inside these aircraft while they are in maintenance - and it was truly spectacular.

1941 Supermarine Spitfire Inside Struts

Engine and wooden propeller

Aircraft engineer hands

Bristol Scout C cockpit

Inside the wing of a 1941 Spitfire

Parts hanging in the workshop

Britsol Boxkite tail

Shuttleworth Engineer

Clamps

1938 Westland Lysander engine

Fabrication

Bristol strut

Workshop

Parts

Safety belt

Tools and parts

Machine gun replica on 1917 Bristol F2B

Wooden Propeller

Tail from 1942 North American Harvard

Avro 19 Series 2 in the hangar

The Leica SL (Type 601) Camera Review

The SL (Type 601) is Leica Camera’s first foray into the world of mirrorless cameras. On the surface, this camera looks over priced and unable to compete with the dominance of companies like Sony…… but looks are often deceiving! As it turns out, the Leica SL is just what the photography market ordered and is a masterpiece by the Germany camera maker.

In fact, this isn't just the best Leica ever made, it's arguably the best digital camera ever made for professional photographers.

Release Thoughts

When I first heard about the Leica SL in the press releases, I was not impressed. The photos provided by Leica made the camera look monstrous and none of the technical specs jumped off the page. I was quick to dismiss it.

After the camera started to ship, some of the regular internet blogs I followed started to discuss the Leica SL and there was a overall sense of pleasant surprise; I wasn’t the only one to write off the camera before using one. Since initial looks and previews were positive, I decided to go play with a demo unit at the Leica Store in Mayfair London during a weekend trip to explore the London winter markets. 

I was so impressed, I pre-ordered my own copy that day.

Unboxing

I was having a bad week; a mouse had chewed through plumbing in our house, causing mass flooding. Thankfully nothing was damaged, but it was a close call as the ceiling nearly collapsed in my photo studio. I was lucky to salvage everything without issue! 

When the Leica Store Mayfair emailed me mid-week to let me know that an SL had arrived and it was mine for the taking, it did a wonder for my morale. New toys and gadgets can fix almost any problem! I asked Leica if they would charge the battery for me, as I’d come down to London to pick it up on Saturday and would want to shoot around town after I picking it up. True to their word, Leica generously charged everything and had it ready to go so I could enjoy a first day of shooting. Kudos to the Mayfair team for superb customer service!

The SL comes in a large black cardboard box. It’s about the same size as the boxes from Nikon for the D800 and D610. Unlike the M series cameras, which come with a box that is reminiscent of a jewelry box, this one is more straight forward and not as luxurious. But who cares about the box? The SL isn’t made for people who want schnazzy boxes, it’s made for photographers! 

Inside the box is a large foam insert with slots for all the components: battery, charger, cables, camera strap and the camera itself. 

The only surprise in the unboxing is that the SL does not come with a UK plug adapter as standard. I found this a little surprising considering the Leica M-P (Type 240) includes this and I purchased the camera in the UK. They offer a European two pin and the American two prong plugs, and I have plenty of adaptors, so no problems.

Charger & Batteries

The Leica SL takes a proprietary lithium ion battery that is sealed with a gasket so that, when inserted into the camera body, it maintains the weather sealing. The battery bottom also acts as the door for the battery hatch. Initially I though this was a little strange, but on reflection, I like the design. I have nearly ripped the battery hatch door off my Nikons before, so Leica has just removed a potential failure point.

The charger is like most Leica chargers; it includes lights to tell you when the battery is 80% charged and then fully charged. Batteries are inserted into the charger and then popped down snuggly into the charging station. Unlike the Leica M charger, where the cord is only a few inches long, the cord on the SL charger is long enough to be plugged into a floor level outlet while still resting on a table. 

A spare battery runs £95 GBP / $150 USD, which is reasonable. 

Strap

Leica provides a fairly solid camera strap with the SL. It has a stretchy neoprene neck pad and would probably be fairly strong if someone tried to cut it off you. That said, I won't be using the camera strap provided because I prefer even more solid designs, but what they give isn't terrible. There is no big and obscene Leica branding - of course the camera itself isn’t very subtle about being a Leica!

USB Cable

Provided with the Leica SL is a USB 3.0 cable that is also longer than expected. I don’t shoot tethered to my laptop very often, but it seems like the cable is just barely long enough to permit some tethered shooting. 

Accessories

At the time of launch, Leica announced several other accessories for the Leica SL that could be purchased after market. These include a battery grip, protective cover film for the back LCD screen, and a series of filters for the also released lenses. At this time, I haven’t purchased any accessories for the SL beyond what was provided, so any feedback on those will wait until they are released/purchased.

Construction & Build

Leica makes a lot of collector cameras - sets designed for the obscenely rich to buy and put on a shelf (I feel bad for those cameras). The Leica SL is not a collector camera. It’s not for those looking for a sexy and delicate camera. This is a photographers camera, and it shows.

The body is milled from a single solid block of aluminum, which makes it extremely solid and rugged. Design graphics provided by Leica show they have included a ton of little rings and gaskets to weather seal the camera from water and dust. In fact, Leica has even produced a video showing the Leica SL having a bucket of water dumped on it! As a landscape and outdoor photographer, this was a tremendous selling feature. 

The camera has a very simplistic design - rather than overwhelm the user with a zillion little labelled buttons, they have stuck to their value of “the essentials” and provided intelligently designed controls. I really like this; there are several buttons on the Nikon’s I’ve owned that I have literally never never used. Ever. Of course the risk with cutting buttons is creating cluttered menus, but even here, the construction and design is brilliant. The SL cleverly adds long press functionality like seen on some recent Apple products to give each button a series of options and commands. That allowed them to quickly cut the number of controls needed to a bare minimum without risking frustration from photographers who needed to work hard to change a setting like ISO.

Beyond the physical construction, Leica has taken some steps to appeal to tech savvy photographers by including elements like GPS and wifi into the camera. 

Ergonomics

The truth is, Leica didn’t design this camera for a woman’s hands. The majority of the people who buy and use an SL are men who will have bigger and longer hands than I do. As a result, I am always concerned that a camera’s ergonomics won’t fit me quite right.

Alas, the Leica SL fits comfortably in my small hands. All the controls are easily within reach and I actually think the size of my hands plays to my favor when holding the SL. My right thumb can easily reach the scroll wheels and joystick control while holding the camera to my face, and my right hand comfortably wraps around the hand grip. 

Weight wise, the Leica SL body is lighter than I expected it would be, considering the construction of the body. It’s heavier than a Leica M, so if that’s what you are accustomed to, it’ll seem like a brick, but for dSLR shooters, this isn’t “heavy.” Leica says that, with the battery, the camera weighs 850 grams. I can’t visualize 850 grams, but according to my calculator, that’s the same as holding five Apple iPhone 6’s. It’s also the same weight as the Nikon D800. The lens combination obviously has huge impact on the overall weight of the camera too.

Camera Sensor

The Leica SL comes with a 24 megapixel full frame (6000x4000 pixel) CMOS sensor. It has an infrared filter, but no low pass filter, which helps ensure maximum sharpness. This is probably the same sensor that was used in the also recently released Leica Q and that has received rave reviews. Side by side comparisons of the Leica SL and Leica Q still show differences in image quality, and that's because image quality is also based on processing, software, and other factors beyond the physical sensor. 

Battery Life

Using the camera all day (10+ hours) while walking around London and shooting in a variety of environments with the GPS enabled, I finished the day with the battery still having almost 50% of the original charge. I also used the onboard wifi and connected with the iPhone Leica App during that time, both of which really can tax batteries. In normal shooting conditions, assuming you aren't using too many of these features, a battery will easily last a day of shooting.

Of course I am too paranoid about missing a shot because of a dead battery, so I always carry a backup.

Lens Choices

Leica proudly boasts how the Leica SL can, with the right set of adaptors, be used with almost every lens they've ever made. But in reality, most of us will use the newly released SL series of lenses or will mount M lenses. 

SL Lenses

As part of the announcement of the Leica SL, Leica announced three lenses that would be released over a one year schedule to mount directly onto the SL mount. These lenses are designed to take advantage of all the camera's features, but owners of existing Leica glass can mount those lenses with a series of adaptors, so we aren't stuck waiting for lens releases. The most commonly mounted lenses will probably be the M series glass, so I'll address that below.

Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH

The first lens released with the SL is available at the time of shipping, and it's the most versatile of the lenses announced for the SL to date. A 24-70mm lens is considered one of the gold standards for professional photographers to own and Leica is improving on this common focal length by offering a 24-90mm with extra reach. This is a variable aperture lens, meaning it is f/2.8 at 24mm and f/4 at 90mm. Because it is an electronic lens, the aperture between those focal lengths varies and is digitally controlled; apertures in electronic lenses don't have to move in 1/2 or whole stop increments. Here's the largest aperture provided at some common focal lengths:

  • 24mm: f/2.8
  • 28mm: f/2.9
  • 35mm: f/3.1
  • 50mm: f/3.6
  • 75mm: f/3.8
  • 90mm: f/4

Leica doesn't build a lot of zoom lenses, and the reason is pretty simple - the engineering required to make a zoom lens that maintains consistent image quality through the zoom range is extremely complicated. Leica has very high standards that they have built a reputation on - and that reputation can't afford to release a flop lens. The Leica 24-90mm lens lives up to all of Leica's exacting standards, delivering fantastic clarity, contrast, color saturation, detail and sharpness at all focal lengths. At the same time, it's about the same size and weight as the 24-70mm lenses made by Canon and Nikon, so they achieved this incredible quality in a reasonably sized package.

For folks accustomed to using the M lenses, it will feel like they are hauling around a bazooka with this lens, but if you are like me and are used to the Nikon 24-70mm lens, this will feel very natural. Leica's goal when releasing the SL was to appeal to photographers like me who have always needed dSLRs, but with lenses like the Leica 24-90mm, I'll be ditching my remaining Nikon gear.

When I first heard about the lenses released for the Leica SL, I wasn't sure I wanted to buy the lens. I figured I could continue to use my M series glass and keep the setup more compact. After shooting with the demo body and lens at the Leica Store Mayfair, I changed my tune. The 24-90mm was incredibly fast to focus and staggeringly sharp. The only thing my M lenses offer over this lens is faster apertures and smaller size. Because this lens was really delightful to shoot with, I opted to purchase it, while still maintaining two of my M lenses for those times when I want a more compact and lightweight setup. 

Leica APO Vario-Elmarit-SL 90-280mm f/2.8-4

Just like the 24-70mm is a standard midrange zoom used by most professional photographers, the 70-200mm lens is considered the professional's telephoto of choice. Keeping with that, Leica has announced, but not yet released, a 90-280mm f/2.8-4 lens to meet the needs of professionals who are considering leaving their dSLR setups. Unfortunately, the lens is probably not going to be widely available until summer 2016, and I haven't seen any reliable pricing information. There have been some photos of demo units floating around at some Leica stores, but otherwise, little is known about this lens outside Leica's promotional materials. The good news is that with a focal length this long, Leica is promising superior autofocus and image stabilization (they claim it can compensation for 3.5 stops of camera shake). 

From the photos I've seen, the lens looks to be approximately the same size as the Nikon 80-400mm zoom that I've used for wildlife photography. If that's the case, it'll be larger than the other 70-200mm lenses on the market - but it also offers 80mm more reach than it's competitors. Either way, I will be eager to try one as soon as possible to see if this lens can meet my needs for wildlife shooting.

Leica Summilux-SL 50mm f/1.4 ASPH

Leica rangefinder users will probably be most excited for this 50mm prime, which is set to release late 2016. Again, no pricing information, but I can assume it will be a pretty penny. The 50mm Summilux lens for the M series cameras costs between $3,500-4,000 (depending on promotions), and it is a manual focus lens. Add autofocus and a much bigger lens (more glass), and I can't imagine this baby will be cheap. For that reason, I'll stick to the M series 50 Summilux, unless Leica blows me away with reasonable pricing.

For those who can afford what I imagine will be a pricey lens, the 50mm Summilux in the SL mount may be the lens that draws Leica rangefinder users to the SL. Those who are accustomed to prime lenses and crave lens speed over zoom will swoon for this lens, so I imagine it'll be a top seller. I also expect Leica will release several other fast primes in the SL mount - I'd guess a 35mm comes next?

M Lenses

The Leica SL is an incredible camera, and unless you really lust over a rangefinder, I suspect many M shooters will ditch their trusty M bodies in favor of an SL. The SL is nearly the same size and weight as an M, but with way more features, so why wouldn't you?

The appeal of using the SL with M lenses is that the electronic viewfinder can display any focal length lens without needing crazy adapters. No add-on field-of-view optics - just look into the viewfinder. What it shows is what you'll get! And if you like to shoot with a narrow depth of field at apertures ranging from f/0.95 to f/2, you're more likely to hit precise focus with a digital viewfinder than blindly trusting the calibration on the rangefinder. 

To use an M lens on the Leica SL, you'll need the Leica M-Adapter T (aka a M to T adaptor). The adaptor is pretty small and reasonably inexpensive and, as an added bonus, can read 6 bit coding on M lenses and transfer that information to the camera.

Camera functions like autofocus are disabled when you mount an M lens (for hopefully obvious reasons), and you can choose to shoot in aperture priority or manual mode. Features like focus peaking in the electronic viewfinder make achieving tack sharp focus much easier and turning those features on and adjusting them is easily done in the menus. Firmware update 1.2 also enabled a super zoom in for focusing by just pressing down on the joystick while looking through the EVF. It's a fantastic feature!

....And it Makes Some Fine Images!

Image Quality

I always shoot in RAW (14 bit color depth) and edit my images to get the maximum quality in the finished result. Since RAW images assume no sharpening, contrast, color saturation, etc, RAW images tend to look dull until edited. The RAW images from the Leica SL are far from dull!

The first time I downloaded the images into Adobe Lightroom, I kept excitedly telling my husband how great they were. Although they were still RAW files, there was incredible dynamic range, color, and detail present. A few selective adjustments and the images really popped - easily the best quality I have natively seen from a camera. The image results totally dominate the RAW files created by the Leica M-P (Type 240). Likewise, they far exceed results I’ve seen from any of my Nikon’s. 

I don't do scientific reviews, because I also don't shoot with a lab coat and clipboard. I shoot in the real world and use real world photos as the basis for my review, and I have been nothing but impressed by the image quality that comes from the SL. Leica's engineers clearly have worked very hard to squeeze every drop of goodness out of this sensor and it makes the sensor of the Leica M-P (Type 240) look like a kids toy. Lenses like the 50mm Summilux f/1.4, which have a distinctive "Leica look" only look better with the SL!

If you are a landscape photographer, then this is your camera. I am totally blown away by the quality of this camera, especially with the 24-90mm lens. The following images were all taken with that combination, and required minimal editing in Lightroom to deliver the results you see here.....

Window Dressing - Leica SL & 24-90mm @ f/3.3, 1/40 sec

Incredible detail and color - the sand looked more black to my eye, but the Leica SL captured all the little golden flecks that really give the sand interest and texture. f/4 @ 1/160th

Of course, the Leica SL generates some lovely images to convert to black and white. This was converted using Nik Silver Effects...... oh, and this was hand held at f/22 @ 1/6th!

The Leica 24-90mm practically serves as a macro lens, offering incredible color and detail on a nice short focus. f/22 @ 1/80th

Check out the detail and sharpness! I barely touched any sliders in Adobe Lightroom to get this image from the RAW .DNG file.

Color bands on the Hunstanton Cliffs on the coast of England. f/4 @ 1/60th

Leica wants the SL to appeal to landscape photographers. With results like this, that won't be an issue! f/7.1 @ 1/100th

Leica wants the SL to appeal to landscape photographers. With results like this, that won't be an issue! f/7.1 @ 1/100th

Lots of texture with shadows and highlights, yet the Leica SL renders it beautifully.

Nice results when using a neutral density filter on a f/22 @ 2.5 second exposure. Nice and sharp and clean.

Great cropping potential with a 90mm lens and some tremendous image quality. This is a 100% crop and the bird eyes are still tack sharp.

ISO Performance

Like I previously mentioned, I am not a scientist, so I don't shoot crazy side-by-side comparison photos. But I am a real photographer that shoots in real environments, and the ISO performance of this camera, when used in the real world, is incredible. I normally shoot at auto ISO settings and only override the camera if I want something like a long exposure via neutral density filter. Using manual ISO, the Leica SL did a nice job maintaining a low ISO while balancing a shutter speed I could hand hold; when shooting in Aperture Priority, I normally found the camera would prefer ISO 50 while maintaining shutter speeds above 1/80th. I did shoot some photographs of my Christmas tree and found unbearable noise didn't show until above 25,000 and 50,000 was pretty noisy - but it's also stupid crazy ISO to really shoot at. If you are shooting at ISO 50k, you've made the decision to sacrifice quality in favor of getting an image, so who cares?

Video

One of the features that appealed to me on the Leica SL is the video functionality built into the camera. Video features never made sense to me on the Leica M series - it’s not the kind of camera I would use to film anything beyond a 10 second memory clip. For that reason, I still had been holding onto my Nikon D610 for video work.

Now that I own the Leica SL, I’ll be selling the Nikon D610 as the SL has met and surpassed the video capabilities. I am not a professional videographer, so I’d be speaking out of turn to evaluate the video quality, but 4K video should be more than enough for me to film short snippets for YouTube videos.

The video specs are as follows:

  • Resolution: 4K (4096 × 2160) @ 24 fps; 4K (3840 × 2160) @ 25 and 30 fps; 1080 @ 24, 25, 30, 50, 60, 100 and 120 fps; 720 @ 24, 25, 30, 50, 60, 100 and 120 fps
  • L-Log gamma selectable
  • HDMI video output (enabled recording via external monitor)
  • Compatible with Leica Cine-Lenses
  • Record in MP4 and MOV formats
  • Stereo microphone, 48 kHz
  • Audio in/out via additional connector
  • Up to 29 min recording duration

Shooting Experience

Electronic Viewfinder

The EVF has to be one of Leica’s crowning achievements in this camera and I suspect it will force other camera manufacturers to step up their game when it comes to viewfinders. 

Until demo-ing the Leica SL, I had never used an EVF. The Nikon’s, Leica M, and analog film cameras that I’m most accustomed to using are optical viewfinders - either a rangefinder or a mirror with prism. I had never been drawn to an EVF because it seemed like it would introduce problems; a mirror doesn’t use any battery power! My experiences using Live View features has never been all that great - it’s a "nice to have" feature but lags and is slow to start. Installing a small Live View screen into a viewfinder just struck me as opportunity to fail, not to succeed.

What I’d failed to consider was the benefits of an EVF. Most notably, the EVF allows you to preview and review images in the viewfinder. I don’t have to take my eye away from the eyepiece to check if the camera captured the image correctly anymore. I don’t have to consult with the back screen for any detailed information. While I shouldn’t have been so surprised that an EVF offered more functionality than a traditional optical viewfinder, I had never put any thought into the issue. So if you are used to an optical viewfinder, try an EVF just to see if it changes your life like it did mine!

The EVF in the Leica SL is 4.4 megapixels and is very sensitive. According to Leica, it has a 37 degree field of view and is full frame. There is an external diopter control for those with glasses, and folks with glasses can also adjust the eyepiece auto-on sensitivity. I found that it did a nice job adjusting to ambient light and was easy to use in near total darkness later a night. It is also very fast and responsive to the human eye and automatically turns on/off when you look through it. Unlike most Live View functions, which need a second or two of startup time, the EVF is almost instant, so if I miss a shot, it’s not because of the EVF!

While I can tell it isn’t an optical viewfinder, the EVF is nearly life-like in the quality, colors, and rendition of the image. I appreciate the various in-screen information that can be displayed via the EVF, including a histogram to see clipping, focus peaking, or zooming for precise focus. Again, none of these features should surprise me, but coming from an optical viewfinder world, I find the ability to access this information via the eyepiece really wonderful. 

We will talk about pricing later in the review, but this EVF is incredibly well built and designed, and I think the difference in price between this and competitor cameras can easily be justified by considering the EVF’s clarity and performance.

Joystick

Leica did away with the extra buttons that clutter the back of other SLR cameras by utilizing a series of smart controls. One of these controls is a little joystick near the viewfinder. The location of the joystick is such that you can use your thumb to control the joystick while still looking through the viewfinder, which is great, because the joystick can allow you to move a focus crosshair around. The joystick was also very fast and smooth; it reminded me of the joystick on a video game controller with the smooth operation.

One of the cool features is that with firmware 1.2, you can click in on the joystick with a manual focus (M series) lens and the camera will zoom in the EVF to help you achieve pinpoint focus. If you are shooting a lens like the f/0.95, that'll be a huge focus assist.

The joystick also controls functions in the menus, which makes it a breeze to zoom through the menu screens.

Leica SL App

Many people dislike the Leica apps that allow integration with a smart phone, but, for me, the app is actually one of the surprises of this camera and shouldn’t be overlooked. Like the EVF, this app will change the way I shoot.

The Leica SL app is found in the Apple iTunes or Android app stores and using it requires the camera to be put into wifi mode (which probably shortens the battery life) and it then broadcasts its own wifi signal. To connect your phone to the camera, you either enter a unique password, or scan the QR code that comes up on the back of the camera. Once connected, the app serves as a remote control for the camera.

Using the app, you see a real-time preview of what the camera sees. You can touch the screen on the app to move the focus point or adjust shooting settings like aperture or shutter. There is a capture button that then lets you take the image remotely. Virtually all major camera controls are adjustable via the app.

Why is this important? Let me tell you how many hundreds of dollars I’ve wasted on remote controls and other external operations for my other cameras..... None of them worked as well as this did. If I had owned this camera on my recent trip to Wales, I would have used it to shoot long exposures without having to touch the camera and risk introducing camera shake. It’s completely brilliant and very easy to use and allows me to forgo more gadgetry like shutter releases.

Another added bonus of the app is that it allows you to view photos on the memory card and download them to your phone. Awesome. Now I can use the app to grab that photograph I just took and upload it to Facebook before I’ve even left the site. With the improvement of Adobe’s Creative Cloud system, this type of technology will change the way photographers share images with clients in near-real time. 

Touchscreen

Leica did something very cool when they made the screen on the back of the camera touch enabled. I actually forget that the back screen is touch enabled because I am not used to a feature like that! But with the touch screen, you can easily control the focus points, or quickly swipe through photos. It's a handy bonus feature built in - one I didn't need to be sold on the camera, but that only makes it that much better!

GPS

The Leica SL includes built in GPS functionality, which I rather enjoy. As an outdoor and landscape photographer, this enables me to view images spatially on a map and not have to worry about keyword tagging the location of the photo. I always wanted to play with GPS accessories for Nikon, but was too cheap to buy the accessories to enable GPS tagging. I wouldn’t have blamed Leica if they didn’t include the GPS, but the fact that they did is just another great bonus. I found the GPS acquires a signal in surprisingly fast time, but I haven’t been able to accurately evaluate the impact to the battery life. Using the GPS all day walking around London, I only half drained the battery, so as long as I carry a spare battery, it shouldn’t be an issue to use for a day of shooting. 

Problems & Complaints

No camera is perfect, but the Leica SL is damn close... that said, I can offer one problem and two complaints:

SD Card Issue

There seems to be an issue where using a large memory card in slot 1 causes a slow start up. As far as I've been able to diagnose, the problem is that the camera wants to index the memory card before being ready to shoot. When I put a 128GB card into slot 1, it takes almost 7 seconds to be ready to shoot. If I put a 16GB card into that slot, it takes 1.5 seconds. Using that same 128GB card in the Leica M-P (240), it starts immediately, so that tells me the problem is software based. I recorded a video of the issue and have swapped emails with Leica - they confirm the issue can probably be fixed in a future firmware update. If Leica fixes this (which I believe they will), then I won't have any issues with the software.

On/Off Switch

So this will sound crazy, but the Leica SL is the first camera I've owned where the on/off switch isn't located where accessible with my right hand. As a result, it takes two hands to get the camera 'ready to shoot' - my right hand holding the grip while the left flips the power switch. This is a muscle memory problem, but it will take me a few weeks to get used to this arrangement. 

Camera Strap Lugs

I love the way the Leica M camera straps attach with the little lugs on the side. The SL has slots where the strap feeds through, and that irritates me because I can't use some of the great straps I own already. Even when I buy a new strap, I don't like the way it sits on my body with the straps fixed in that position. Sure, I can use a sling strap that attaches to the tripod mount on the bottom, but then that blocks access to the tripod mount. It may seem fickle, but its the little things that make the biggest annoyances. Of course, that's not a reason NOT to buy the SL!

Pricing

When it comes to Leica, pricing can be an awkward subject. 

“Oh, that’s a nice camera, what does it cost?”

Holding a Leica, I always feel like I’m being judged. Is she filthy rich? (No: I sold all my Nikon gear and some other old stuff to purchase this)

When you really break apart this camera and compare it to some of the ‘competition’, I think Leica actually priced this camera very fairly. Sony doesn’t make a body like this, and neither does Nikon or Canon, so determining the market value is a bit tricky. The Nikon D4S, which is the top of Nikon’s line and is presumably the type of camera competing with the Leica (despite differences like EVF, sensor resolution, shooting speed, etc), costs $6,500 at the time of writing. That’s $1,000 less than the Leica. But no one is gawking at that saying “wow, Nikon is just inflating their brand!”

Bottom line, I won’t pretend that at $7,500, the Leica SL is a cheap camera, because it’s not. But I also will stand here and say with a straight face that Leica priced competitively when compared to other top-of-the-line cameras from Nikon and Canon. I think the Leica SL will also sell very well because there are far more features built in for the price than something like the Leica M, which lacks EVF, auto focus, etc.

About this Review

I buy all the gear I review - no freebies, no demo units. This camera was paid for with my own hard earned bucks, and therefore I'm not indebted to anyone to say nice things. The fact that I've paid this much for the camera and am absolutely silly stupid in love is 100% genuine based on the goodness the Leica SL has delivered!

First Day with the Leica SL

Thanks to the Leica Store in Mayfair (London), I didn't have to wait long after posting my Leica SL First Impressions to actually get my own. Leica was also kind enough to setup the camera and charge the battery for me so that I could take it shooting in London after purchase.

Like with any new camera, it takes some time to learn the buttons and figure out the 'ins and outs' of the controls, but it was the perfect day to put the camera through its paces. After starting with a walk through Soho, we walked to the Tate Modern and a Christmas market in that area before finishing with a nighttime stroll to Big Ben and Westminster. I had a chance to shoot in a bunch of different environments, including some nighttime and low-light, to really test several aspects of the camera - and I am SUPER impressed! In fact, as I downloaded the files into Photoshop last night, I kept saying "holy cow" and "wow" as I looked at the raw files; these are some of the nicest images I've ever seen come from a camera. Incredible dynamic range, sharpness, and detail. 

Stay tuned for a formal full review, but in the mean time, here's a sneak peak of my first day with the Leica SL.