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Leica SL (Typ 601)

35mm AF digital mirrorless camera

Specification

Production details
Announced:October 2015
Order No.:10850
System: Leica L (2015)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Leica L [20mm]
Imaging plane:36 × 24mm CMOS sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:1800 - 1/16000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:850g
Dimensions:148x105x85mm
Accessories
Body cap:16060

Manufacturer description

October 20, 2015 – The much anticipated mirrorless camera system designed for professional photographers is here.From legendary German camera maker Leica Camera comes the new Leica SL mirrorless system portfolio, once again ushering a new era of innovation in the photography world. The Leica SL’s autofocus – the fastest on the market – combined with its high-performance Maestro II series processor and expansive buffer memory, make it possible for photographers to capture images at speeds and resolutions never before attained. Even more ground-breaking, the exceptional compatibility of the Leica SL system allows access to almost every Leica lens ever made.

UNPARALLELED ADVANCES IN SPEED

Utilizing 2 GB of buffer memory, the processor makes it possible to capture 24-megapixel exposures at rates of up to 11 frames per second, 4K video at 24 or 30 frames per second, and Full-HD video up to 120 frames per second. Pictures can be quickly saved to one or both of the SD memory card slots, in JPEG and RAW DNG formats simultaneously. The primary card slot utilizes the UHS II standard to ensure the main card attains the highest speeds currently possible. The combination of outstanding imaging performance, superior resolution, and the fastest autofocus makes working with the Leica SL the ideal experience for the demands of professional photographers.

STRIKING CMOS SENSOR

The Leica SL’s 24-megapixel CMOS full-frame sensor guarantees impressive dynamic range, excellent contrast rendition, exceptional sharpness, the highest resolution, and noise-free images in almost all lighting conditions, with shutter speeds from 30 minutes to 1/8000 second. The sensor reveals its full potential in combination with Leica SL lenses, especially in available-light situations, creating superior-quality atmospheric exposures at sensitivities of up to 50,000 ISO. What also sets this sensor apart is that it is optimized for use with all Leica M-Lenses; in addition to supporting all their functions, it delivers the excellent picture quality synonymous with Leica for more than a century.

UNRIVALED VERSATILITY AND ADAPTABILITY

The Leica SL system’s new lenses will boast the superior optical and mechanical precision that users have come to expect from Leica. The ideal standard zoom lens in the portfolio, the Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH, encompasses wide-angle to moderate telephoto perspectives at fast apertures. The speedy Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 will follow in early 2016, and the portfolio will be rounded out by the Leica Summilux-SL 50 mm f/1.4 ASPH, the new benchmark lens for this focal length, in late 2016.

The exceptional compatibility of the Leica SL system also allows access to almost every Leica lens ever made, giving photographers the ability to use all of the quality Leica lenses they have invested in over time. All lenses for the Leica T camera can be used without an adapter on the Leica SL. In addition, adapters allow Leica S, M and R system lenses, as well as lenses from other manufacturers, to be mounted on the Leica SL. Additional Leica SL Lenses are set to be released in 2016.

ADVANCED VIEWFINDER AND TOUCHSCREEN DISPLAY

Developed especially for the Leica SL, the electronic viewfinder is the first of its kind to feature Leica EyeRes technology. With a refresh rate so high the view is always smooth and consistent, an impressive resolution of 4.4 megapixels for amazing detail, and a magnification reminiscent of a medium format camera, this electronic viewfinder reveals an entirely new visual experience. By offering a preview of how the settings will apply with just a partial press of the shutter release, the viewfinder provides optimum control over the final picture in any situation. The EyeRes viewfinder is activated simply by looking through it. In addition, the Leica SL also features a 2.95-inch rear display with a viewing angle of up to 170 degrees that enables reliable viewing of pictures and intuitive touchscreen menu navigation.

PROFESSIONAL VIDEO IN CINEMATIC RESOLUTION

Much more than a still-picture camera with video-recording capability, the Leica SL fulfils the most stringent demands of professional cinematographers, enabling the production of professional videos in 4K resolution. Videos can be recorded in Ultra-HD at up to 30 frames per second, or in Cine4K at 24 frames per second. In Full-HD, the Leica SL can record video up to 120 frames per second, using the entire sensor area, for beautiful and smooth slow-motion effects.

The Leica SL’s logical and intuitive handling allows seamless switchover from stills to motion-picture recording. As soon as the camera is in video mode, the display shows only relevant information for video, such as safe area, aspect ratio, zebra function and the recording level of the microphone. An optional audio adapter allows users to connect an external microphone; the audio-recording level can be set without accessing the menu. Videos can be output in 4:2:2 10-bit format in 4K resolution over HDMI 1.4, allowing cinematographers to get the highest color and video quality and control needed from the camera.

BUILT FOR DURABILITY

The “Made in Germany” seal of quality for the Leica SL system guarantees that only the finest materials and craftsmanship are used in its construction. The SL’s solid-aluminium body components, and precisely engineered weather-resistant seals around controls and in the lenses, provide optimum protection against dust, moisture and splashes. Meanwhile integrated ultrasonic sensor cleaning removes dust and dirt, preventing them from showing up in images. The glass covering the back panel display is extremely scratch-resistant and features an anti-glare coating. All these properties make the camera an ideal tool for use in the unpredictable conditions professional photographers face.

The Leica SL (Type 601) body (SRP: $7,450) and Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH zoom lens (SRP: $4,950) will be available beginning November 16 at your local Leica Store, Leica Boutique or Leica Dealer. Additional Leica SL lenses and accessories are set to be released throughout 2016; the Leica APO-Vario-Elmarit-SL 1:2, 8-4/90-280mm ASPH will be available in Q2, and the Leica Summilux-SL 1:1, 4/50mm ASPH will be available Q4.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Unique Leica Look

Leica lenses are one-of-a-kind optical masterpieces that are impressive because of their unique Leica Look. This is ensured through exceptional optical design combined with selected materials and the highest quality standards.

Leica lenses reveal their full potential only when mounted on Leica cameras, since only these have sensors precisely matched to their optical characteristics.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

16060

Protection cap, for camera body with LEICA L bayonet mount.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.