Leica Apo-summicron-sl 35mm F/2 Asph

The Leica SL System continues to grow and mature. Two and a half years since the launched, Leica’s focus is now on expanding the lens lineup. The and, the first two SL lenses, are the first zooms that I’ve used which offer Leica prime lens quality at every focal length in their respective ranges.

• Leica 35mm Summicron Version 1
• Leica M6 35mm Summicron
• Leica Apo-summicron-sl 35mm F/2 Asph

With the launch of the brand new APO-Summicron-SL 35 mm f/2 ASPH. Lens, Leica Camera diversifies its portfolio of high-performance lenses for the Leica SL, Leica’s most versatile camera system. High performance, compact design and ingenious engineering make the latest lens in the Summicron-SL series the new benchmark for reportage focal lengths.

Flexible, incredibly sharp and just an all-around solid performer, the standard zoom pairs perfectly with the SL body. Not surprisingly, the SL and 24-90 has been my go-to combo for most of my photographic pursuits these past two years.For those needing longer reach, the puts even the sharpest Leica R prime tele lenses to shame. Yes, even the legendary ones. And with autofocus, auto aperture, image stabilization and full weather sealing to boot.

You can read my full review. Rounding out the zooms, the just-introduced could prove to be the finest wide angle zoom ever made – truly a landscape photographer’s dream. With these three zooms, the SL will cover 16-280mm, enough for the vast majority of photographers.But, many Leica shooters have been looking for more than just a range of zoom lenses, even if they offer unparalleled performance. And while I personally don’t find the sizes of these lenses objectionable for the capability they offer, many are yearning for something lighter and more portable. Many SL users want primes, and small ones at that.The came out last year and set a new standard for a normal lens (Full review ).Tack sharp with gorgeous bokeh. But, no help in the size department.

The 50 Lux shares the same 82mm front diameter and voluminous lens barrel as the zooms. Clearly, Leica can’t just keep rolling out gargantuan lenses, no matter how exceptional.Summicron-SL Range, Leica answered the call. They showed off mock-ups for a range of new f/2 Summicron-SL primes. Starting with 35, 75 and 90, the Crons all share the same barrel dimensions, sporting a much more reasonable 67mm front filter size. But even with the reduction in size, no sacrifice would be made on image quality.

Quite the opposite, in fact., the head of optical design, I learned that this new range of lenses would raise the bar with regards to optical performance. The Summicron-SL lenses would represent the best prime lenses Leica has ever made.

In his words, “These primes redefine everything. They are simply amazing in terms of total optical performance, as well as mechanical.

Fast autofocus. Next level image quality.” No small statement. Peter Karbe, Head of Optics for Leica Camera AGPeter has made similar claims since we started discussing lenses over a decade ago, and I’ve come to accept remarks like this not merely as hyperbole or marketing speak. The Super-Elmar Ms, the 50 APO M, the entire line of S lenses, the SL zooms – all exemplary.

No matter how impossible it seems, the optics department just keeps cranking out ridiculously good glass, one right after the other. Maybe it’s something in the wateror beerin Wetzlar.

Regardless, I’m not complaining.So, when I was able to get my hands on one of the first lenses, I was ready and raring to see if the resulting images matched up to the promises. The short answer: yup.

Read on.The APO-Summicron-SL 75mm f/2 ASPHSqueezed into the confines of the relatively small 67mm diameter barrel is a revolutionary new optical design consisting of 11 elements in 9 groups with one aspherical. The aspherical element corrects monochromatic aberrations. And to earn its APO moniker, all elements are made of special glass types, the majority of which feature anamolous partial dispersion, correcting all chromatic aberrations.Focus on FocusGood glass is only as capable as the ability to achieve accurate focus. Here, attention was paid to both autofocus and manual focus systems. Like all Summicron-SL lenses, the 75 gets Leica’s new Dual Syncro Drive mechanism.

Two extremely lightweight focusing elements, weighing a mere 10g apiece, get their own high-precision stepper motor. Linked together in a complex control system, the motors move the focusing elements in perfect sync, cover the entire focus range in milliseconds and maintain exacting accuracy even with rapid acceleration and braking. The internal focusing system is particularly advantageous in the close focus range, where this portrait lens really shines. Leica SL (Typ 601) with APO-Summicron-SL 75mm ASPH1/500th @ f/2, ISO 100 Size, Weight and BalanceDespite its relatively compact dimensions, the 75 is dense at 720g (1.6 lbs), especially towards the mount end.

And not in a bad way. Anyone familiar with Leica will immediately recognize that sensation of confidence that comes with knowing that no corners were cut in the making of this lens. All metal construction, packed with exotic glass, heavy-duty motors and fully weather sealed, the 75 exudes pure quality, inside and out.Once mounted on the camera, the combination balances beautifully, aided by the somewhat rear-heavy balance in the lens.

This shifts the center of gravity almost perfectly to the lens mount. The fusion of the tank-like SL and solid 75 yields a very comfortable shooting experience.

Leica SL (Typ 601) with APO-Summicron-SL 75mm ASPH1/320th @ f/8, ISO 100Compared to the APO-Summicron-M 75mm f/2 ASPHJust like in my, I shot a series of head-to-head comparison tests in studio to see how the 75 SL performed versus the well-loved and inarguably awesome. Both f/2 lenses. I shot the lenses on a tripod-mounted SL in studio, with daylight balanced 98 CRI LED Fresnel lights shot through diffusion, providing accurate and even illumination. I autofocused the SL lens using single point AF-S and used the 100% focus aid to dial in manual focus on the M lens. To account for any focus shift, I reacquired focus at every aperture. All images had exactly the same settings applied in Lightroom and both had lens profiles applied in camera, the M lens through the 6-bit detection on the M adapter and the SL lens via native support.

Be sure to click on each picture to view the full size.For the first round, I tried shooting from around 1.5m (5 feet). This is a common shooting distance, especially for portraits. You might notice that the 75 M image has slightly more magnification than the 75 SL.

The 75 M specs show an actual focal length of 74.8mm, so my guess is that the 75 SL is slightly shorter than 75mm. This isn’t uncommon for lenses, and certainly no cause for concern.

But in a head-to-head match-up the differences become apparent. Leica APO-Summicron-M 75mm ASPH @ f/2 (Distance: 1.5m)Taking a look here at 100%, the fine filaments of the yarn have more crispness and smoothness when viewed through the 75 SL. There is more apparent contrast in the details, but the scene doesn’t look contrasty. I think this is an important distinction to make, as the technical nature of the new SL glass doesn’t get in the way of an overall pleasing look. Another take-away is that even though the 75 SL is at a slight disadvantage due to a few less pixels on the subject from the same distance, it still outresolves the M lens. Again, be sure to click the images to view them full size – the crops measure 1800 x 1200 pixels.

Leica APO-Summicron-SL 75mm ASPH @ f/2 (Distance: 0.5m) – 100% CropWe can see this performance difference by comparing the MTF charts for both lenses side-by-side. The SL lens is pulling an incredible 80% contrast wide open at 40 lp/mm, while the M lens is at a very respectable 60%. Stopped down two stops, the 75 SL is still putting up slightly better numbers, clocking in at more than 80% contrast.Bottom line: the 75 SL is noticeably sharper that the legendary 75 APO M, and can focus 20cm, or roughly 8 inches, closer.

The 75 M by no means puts in a poor performance here. Rather, the SL lens just pushes the bar that much higher from what could be described as a reference-level optic in the venerable M lens. This follows a similar theme from the results I analyzed from testing the 50 Summilux-SL and the 90-280 SL versus their legendary manual focus counterparts, the 50 APO-Summicron-M and the 180 APO-Elmarit-R. Leica SL (Typ 601) with APO-Summicron-SL 75mm ASPH1/160th @ f/2, ISO 800And, while I didn’t have a chance to test the 90 APO SL yet, just judging from the MTF charts, the 75’s slightly longer sibling appears to be slightly superior in the sharpness department, but at this point, we’re splitting hairs. Both lenses are truly reference class, and class-leading at that. Besides their stellar imaging capability, the new line of Summicron SL lenses finally come in a size that SL users have been clamoring for. Leica SL (Typ 601) with APO-Summicron-SL 75mm ASPH1/640th @ f/2, ISO 100Now that both the 75 and 90 are available, which would I recommend?

Well, they’re the same exact size with just a small difference in weight. Both lenses are sharper than just about anything out there, including their M and R counterparts. My advice is simple. Get whichever focal length you are most comfortable with. As much as I’m a 90 shooter myself, I had a great time rocking out the 75.So, yeah. You can’t go wrong with either. Now, Leica, how about that 35 Cron?

Most impressive pictures, and I hope you will convey our thanks to your patient and cheerful model. I had wondered why Leica emphasized that the dual drive autofocus motors were driving the two moveable lens elements separately, but your explanation that this replaces the FLE compensation seen in the latest M lenses makes sense.But what’s with the lemon-shaped bokeh balls coming from light dots (or something) in the background? Some light dots show up with a uniform enhancement around their oval edges, for example, the yellow background lamps in your second image. But the shot in the section “Availability” shows a different effect. In the center the white spots are circular, but as you move left or right they get narrower and the tops and bottoms develop a sharp corner. What sort of aberration is this, and when do you see it? Is it a side effect of the tricks paid to get the appearance of sharper depth of field separation?.

Have you ever wondered which 35mm Summicron is right for you? For many, it has always been the newest version. But for some, that might not be the case, for various reasons.

The reality is, Leica has made five versions of the venerable 35 Cron, that there really isn't a necessity to get the latest one. To prove this point, I've decided to do a simple test comparing all five versions at once. And in case you're not aware what those lenses are, it's the following:.Leica 35mm f/2 Summicron Version I (1958 - 1969).Leica 35mm f/2 Summicron Version II + III (1969 - 1979).Leica 35mm f/2 Summicron Version IV (1979 - 1996).Leica 35mm f/2 Summicron ASPH I (Version V 1996 - 2015).Leica 35mm f/2 Summicron ASPH II (Version VI 2015 - present)For the test, I wanted to do something a little different. I have always felt that 35mm was the optimal focal length for doing group shots. So for this comparison, I asked Anna to enlist two friends to give us a hand.For longtime readers of this blog, you're wondering if I've turned my back against the 28mm focal length? I still prefer it.

But the 35mm focal length has some advantages too. For one thing, 35mm has less distortion than 28mm near the edges and corners - since it's not as wide. As such, it is easier to use for most, when capturing a group shot.

This is not to say that there is no distortion. You still have to be mindful of it. But the difference is the distortion at 35mm is easier to manage in composition. Set 1 - ISO 1600, f/8. I should also mention during the course of shooting, I suddenly remembered I had brought along the three lenses from my previous article.Leica 35mm f/1.4 Summilux Pre-Asph (Version I).Leica 35mm f/1.4 Summilux (Version II).Leica 35mm f/1.4 Summilux ASPH II (Version IV)Then a thought occurred to me. What if I compared not just the five 35 Crons, but also included three of the four 35 Luxes?

Since it was here already, it only made sense to expand the comparison.In doing so, I decided to redo the wide open shot comparison again at f/2. In addition, I also included a wide open shot comparison at f/1.4 for the three 35 Luxes. I thought it would be interesting to see what an extra stop of speed can do.

And since I will be shooting at f/1.4, I decided to shoot closer, for more bokeh. But since I'm doing a group shot, I decided against shooting at the minimum focusing distance, since it would have reduced the depth of field. Set 3 - Wide Open - ISO 400, f/1.4 (at 1.5 meters).

Overall, there are differences. But for the most part, the five versions of the 35mm Summicron are more similar than different. In general, the more updated versions are sharper across the aperture range than the version before. Though what that means is each newer version is optically better than each previous version.As for the three version of the 35mm Summilux, I am of the opinion that there are noticeable differences. The first version is very soft wide open.

Leica 35mm Summicron Version 1

The second version has more of that Leica character to it. The fourth version seems to render like a Summicron with the benefit of an extra stop of speed.

Leica M6 35mm Summicron

I think most would want the second version. But the current version Summilux is more than sufficient for most.Deciding between the Summicron and the Summilux is a matter of price, size, and the need for that extra stop of speed.As for which version is right for you, only you would know. Personally, I prefer the current version 35mm Summicron. But between 28mm or 35mm, my pick will always be the 28mm focal length.All images in this comparison are out of camera RAW, unless otherwise stated. All the images have not been cropped.Special thanks to Anna's friends Anisia and Maria.Also thanks to Don and Brian for alerting me of my oversight on the numbering convention of the version IV Summicron.Last, you might have noticed that this article has changed dramatically since the first day of posting. That is because the original article included an April Fool's narrative. For the sake of archiving, I didn't want it to be saved in that form, which is why I've changed it back to it's original version.

Leica Apo-summicron-sl 35mm F/2 Asph

To me, it just makes more sense.