Leica TL System: The 11-23mm Super-Vario-Elmar-TL wide angle zoom

  For a wide-angle zoom, the 11-23 is small and light. Despite the convex front element it is possible to mount a protective UV filter. The strap is the TieHerUp narrow Rock n
For a wide-angle zoom, the 11-23 is small and light. Despite the convex front element it is possible to mount a protective UV filter. The strap is the TieHerUp narrow Rock n’ Roll designed for the Leica M10. A pair of click-in Match Technical lugs makes it easy to attach a traditional split-ring strap. As a matter of interest, these lugs swivel round and are actually more practical than the fixed lugs fitted to most cameras, including the M10. There is less chance of the strap becoming tangled.

One of the problems with pro-quality wide-angle zooms is their size and weight. Even the micro four-thirds system suffers from this. The otherwise excellent 7-14mm Olympus zoom is large and heavy, although it does offer an ultra-wide 14mm-equivalent and sports a constant f/2.8 aperture. 

  The big canvas: Old Mr. Grumpy, approaching his 6000th birthday at Stonehenge. Anyone would be fed up standing in one spot all that time. (12mm, f/3.7)
The big canvas: Old Mr. Grumpy, approaching his 6000th birthday at Stonehenge. Anyone would be fed up standing in one spot all that time. (12mm, f/3.7)

Move up to APS-C or full-frame and these high-performance wide-angle zooms grow alarmingly in size and weight. This is not the case, however, with the Leica TL system. I’m taking a new look at this system because I believe 2017 is the year we will see new emphasis placed by Leica on this system. The lens range is nowhere near as extensive as that from Fuji, for instance, but the quality of the current offerings leaves nothing to be desired. 

The camera: I used an original T rather than the TL. Supplied in mid-2015, this camera has been updated to the latest 1.610 firmware but is otherwise identical to the launch camera which I tested in 2014.

  Stonehenge: 6000 years old and, thanks to English Heritage, 6000 steps to walk from their new carpark at the other end of Wiltshire, 23mm at f/3.5
Stonehenge: 6000 years old and, thanks to English Heritage, 6000 steps to walk from their new carpark at the other end of Wiltshire, 23mm at f/3.5

Throughout the range of TL zooms (11-23, 18-56 and 55-135) Leica has striven to keep the lenses as compact as possible by sticking to relatively slow apertures combined with outstanding image quality. As we learned from the undervalued Leica X-Vario, Leica’s prudent approach to lens design values quality of image over ultimate speed, thus ensuring a smaller overall profile.

  Dramatic landscapes benefit from a wider angle. Ancient stone at Avebury, Wiltshire, taken at 11mm, f/3.5
Dramatic landscapes benefit from a wider angle. Ancient stone at Avebury, Wiltshire, taken at 11mm, f/3.5

This is particularly apparent with the 11-23mm Super-Vario-Elmar f/3.5-f/5.6 ASPH. For what it achieves, this is a small and light lens that you can reasonably carry around on your camera all day. It offers a full-frame equivalent range of 16-35mm which is ideal for general use. I’d sooner have this range than the 14-28mm scope of the above-mentioned Olympus m4/3 zoom. For anyone who prefers the 35mm focal length as a “standard” lens, this 11-23 offers a great all-in-one package.

  The Henge close up at 13mm and f/4
The Henge close up at 13mm and f/4

Surprise

When I opened the box I was really surprised at the compact dimensions. I’d used the lens before, back in 2014, and had positive recollections but, in retrospect, I had overemphasised its size in my mind’s eye. On its second innings, this lens has really impressed. 

  The TL system zooms are all relatively compact bearing in mind the APS-C sensor size, especially the 11-23 shown here. At 360g and with a height of 75mm the 11-23 is a remarkable achievement given its outstanding quality and performance.
The TL system zooms are all relatively compact bearing in mind the APS-C sensor size, especially the 11-23 shown here. At 360g and with a height of 75mm the 11-23 is a remarkable achievement given its outstanding quality and performance.

In common with all TL lenses, there is no physical aperture ring or focus scale. All you get is a fly-by-wire focus ring and a smooth, silky zoom. I find it rather odd that the useful focus scale, much loved on the X Vario, has been omitted from these later system lenses. However, the unfussy barrel reminds immediately of Leica DG-branded Panasonic lenses, with the bold orange focal designation and the large white zoom engravings —calibrated at 23, 18, 14 and 11 (approximately equivalent to 35, 28, 21 and 16). If we wish to pedantic, the actual equivalent range is 16.5-34.5 but 16-35 is as near as damnit. 

With its metal construction and range of wide focal lengths this lens is surprisingly light at 360g, without the hood. It is 75mm long at 23mm and 90mm when extended to 11mm. By comparison, the “standard” 18-56 zoom is not that much bigger — it weighs 255g and is 60mm long at 18mm and 83mm at 56mm. 

  Sarsen stones and human ants from a distance at 23mm, f/4.5
Sarsen stones and human ants from a distance at 23mm, f/4.5

Achievement

To make the wide-angle zoom so compact is quite an achievement and, as I pointed out earlier, it is so small and light that it is a viable contender as an all-day carry-around lens. You cannot say the same about most wide-angle system zooms. That 7-14mm Olympus Pro is a much larger beast, due to its faster aperture and wider angle glass requiring heavier optics, and becomes more of a specialist reserve lens than an all-day user. It weighs 535g, 175g heavier than the Super-Vario-Elmar, and extends to 106mm. When carrying it as part of my micro four-thirds system it was always an in-the-bag, ready-for-use sort of lens rather than a constant companion for the camera. The Leica Super-Vario-Elmar is a different kettle of fish, lighter and generally more usable despite being designed for the bigger sensor.

  The throne room at Avebury Manor. A focal length of 11mm creates an illusion of space in the smallest room at the Manor
The throne room at Avebury Manor. A focal length of 11mm creates an illusion of space in the smallest room at the Manor

The compact hood has a firm click into place. It needs considerable force to lock or unlock and there is no danger of it coming loose and falling off accidentally. It can be reversed when not needed and clicks into place just as effectively. The petal design means that even with the hood reversed it is possible to use the focus ring without problem.

  Dog, telephone box, quaint cottage in the village of Avebury, Wiltshire. What more could you wish for on your holiday postcard? 21mm at f/4.5
Dog, telephone box, quaint cottage in the village of Avebury, Wiltshire. What more could you wish for on your holiday postcard? 21mm at f/4.5

There are other differences which make the Leica lens more of a general-purpose zoom. The Super-Vario-Elmar’s convex front element is less pronounced and can sit behind a protective UV filter. There is no filter ring on the Olympus, for instance, and it’s more or less obligatory to use the large push-on lens cap for peace of mind. The Leica lens, on the other hand, is just as serviceable as the standard 18-56mm zoom and needs no special treatment. 

  The Tudor dining room at Avebury Manor. 11mm is a useful focal length for grabbing the big indoor picture in constricted circumstances
The Tudor dining room at Avebury Manor. 11mm is a useful focal length for grabbing the big indoor picture in constricted circumstances
  When space is tight an 11mm close-up of a rather large building is quite possible, perspective willing. This is the Red Lion at Avebury, Wiltshire, waiting for summer....
When space is tight an 11mm close-up of a rather large building is quite possible, perspective willing. This is the Red Lion at Avebury, Wiltshire, waiting for summer….

Handling

While the Super-Vario-Elmar loses out to a specialist wide-angle zoom such as the Olympus, both on speed and at its widest angle, it is arguably the more useful lens since it is the one you are encouraged to keep on your camera most of the time. It is commendable that, despite it being a lens for a larger sensor system, the Leica is so much more handleable than the micro four-thirds Olympus lens

  Regency dining room at Avebury Manor, set for a solitary dinner, taken at 11mm, f/3.5
Regency dining room at Avebury Manor, set for a solitary dinner, taken at 11mm, f/3.5
  1930s style at Avebury Manor, 11mm, f/3.5 — again the 11-23 is great for indoor shots
1930s style at Avebury Manor, 11mm, f/3.5 — again the 11-23 is great for indoor shots
  The 28-70mm zoom of the Leica X Vario is an outstanding lens and the same attention to detail is apparent in the TL range of zooms. Sadly the useful focus scale of the XV is missing on the TL range.
The 28-70mm zoom of the Leica X Vario is an outstanding lens and the same attention to detail is apparent in the TL range of zooms. Sadly the useful focus scale of the XV is missing on the TL range.

I’ve mentioned the outstanding lens of the X Vario, designed by Peter Karbe as a lens to match primes at every step of its zoom. This applies also to Leica’s crop of SL and TL zooms. They are designs which provide extremely high image quality and good contrast and sharpness. These are not to be confused with the often derided kit lens.

For a combination of landscape, architecture and street photographer this has to be one of my favourite lenses. I don’t have much use for ultra-wide angle so the maximum width of 16.5mm is just right; especially when it means I can have 35mm at the other end of the scale. That’s an important benefit which dramatically escalates the overall versatility.

  Bloomers and other unmentionables on the line at Avebury Manor, 23mm f/4.5
Bloomers and other unmentionables on the line at Avebury Manor, 23mm f/4.5
  Kitchen dresser at Avebury Manor, 11mm f/3.5
Kitchen dresser at Avebury Manor, 11mm f/3.5

Regular users of modern APS-C and micro four-thirds cameras and lenses might be disappointed to find that none of the TL zooms, not excluding this 11-23mm, have built-in stabilisation (nor does the Leica T/TL although it does offer a simulated electronic system that few bother with. Nor, it has to be said, do these lenses have weather protection. 

Far from being a specialist object, this wide-angle zoom is the sort of lens I could happily adopt as my main optic for the Leica T. It is so versatile that it suits the bill better even than the conventional choice of the 18-56mm standard zoom. It is perhaps the most usable of all the TL-system lenses and should be on everyone’s wish list. 

Below: The Tudor dovecote at Avebury, outside taken at 16mm and a spacious inside, complete with dove nesting alcoves, taken at 13mm

______________

11 COMMENTS

  1. It probably does not make any sense to buy new lenses for a discontinued system but I will most likely end up getting the rumored Sigma 23mm F1.4 DC DN once that gets released.

  2. It’s nice to re-read this article as I bought an 11-23 to go with my CL. Whether as a “City” combination or a “Landscape” combination with either the 55-135 or Sigma’s 56mm, it’s hard to beat. You get a real sense of occasion when you click it into place and you start to look for interesting perspectives that the lens can deliver. It’s sharp (but maybe not as sharp as M lenses) and wieldy enough that it will stay on the camera for several days of walkabout until I hanker for a bit of a change.

    Naturally all this still makes me regret Leica’s decision to can the CL, but I’m more than happy to keep using these lenses until the camera can no longer be repaired and ends up in the knacker’s yard.

    • I also use the 11-23mm and 55-135mm with an SL2 as a lightweight travel kit. So whilst the CL may be no more you should be able to make great use of your TL lenses long after the CL. Image stabilization on the SL2 really helps the 55-135mm as well.

      • I use an
        11-23mm
        18-56mm
        55-135mm
        On an SL3
        26mp images allied to image stabilisation
        I’m taking the kit to Turkey in a 10kg bag tomorrow, ever so versatile.
        Stephen

        • Dear Stephen, why not consider writing an article for us?

          I am sure our readers would be interested in a discussion on the merits of these lenses when used on an SL3.

          Compact travel kits are always popular, and this one would press all the right buttons. Mike

  3. In your hands, Mike, this system becomes more and more interesting. And if I judge by the XV, the issue of quality versus speed comes out in Leica’s favour.

    • Thanks, John. As we have both owned and loved the X Vario (I might even pick one up if I stumbled over it at a bargain price) we are ideally placed to appreciate the single-minded approach of the T. It doesn’t tick many boxes (no stabilisation, no viewfinder, slow zooms) but it is typical Leica — quirky and somehow satisfying. If only it weren’t for that drum-on-a-pea viewfinder I’d be content.

  4. Excellent article and some great pictures Mike, thanks…

    I am not sure what it is about the camera, and you don’t say whether it is SOOC (as they say), or whether it is the sensor or the software, but the output is superb, and it seems different (crisp?) to other Leica and/or other cameras…

    I am not really sure why the lens barrels should not have a focus scale though?

    As far as how the back end works, there are plenty of options for any new TL compatible back, they could make it a small SL or S, with the unmarked buttons, they could stick with the "Apple style" or they could return to the Q/X more trad style, and all would be fine and none would be out of place, as long as whatever is chosen maintains the Leica simplicity/efficiency.

    • Stephen, many thanks. The pictures are all OOC but not exactly SOOC. I have done a minimal amount of toning down highlights and added a touch of sharpening to achieve the results. Normally I work from RAW to my own tastes but this time I decided to use the jpgs. In one or two instances, with hindsight, I might have been better using the RAW data as the base. Some of the indoor shots (particulary the 1930s drawing room) suffer not surprisingly from blown highlights — which is not the camera’s fault but mine for not metering more intelligently. I suspect recovery, although difficult, would have been easier with the greater dynamic range of the RAW files.

      While I feel sure that any updated TL must have an integral viewfinder (it will be a great disappointment if not) I am less sure about the general layout of any new camera. We will just have to wait and see.

LEAVE A REPLY

Please enter your comment!
Please enter your name here