As readers will know, I’ve had an ambivalent relationship with Leica’s SL range. But the arrival of the Leica SL3 has changed my perceptions for the better. I have discovered that this is one of the most interesting, and certainly the most unusual, professional-standard mirrorless cameras on the market.
The Leica SL3 may not excel at everything. Yet, in the round, it is a camera that impresses in practice thanks to its admirable user interface and inherent simplicity. This time round, too, I have come to terms with the size and weight of the camera.
When the SL3 was launched in March 2024, I didn’t rush to buy or even to try. I liked the new more rounded contours, and the slight weight saving and size looked promising. But I still felt that, thrice bitten, fourth time shy. I would not buy an SL3 because of the weight issue.
Then along came a press review camera from Leica UK, and it became a part of my life for two weeks in August. Would it be capable of changing my view of the SL range?
My experiences with the SL
This is not a full review of the SL3. We have already published Jonathan Slack’s excellent and detailed review at the time of the camera’s launch in March. This article covers my impressions of the camera, my initial encounter with the menu and control system and the general handling of the camera. It also touches on the use of lighter, cheaper lenses from other members of the L-Mount alliance.
I have owned both the SL (twice) and the SL2 (once). Happy as I was with the functions and performance of the camera, the question of weight always began to niggle after a time. I am well aware that this is a matter of age. As we get older, carrying heavy equipment for long periods becomes a chore and seriously affects our relationship with cameras and lenses.
Younger readers may not notice this problem and will probably have used previous SL models happily without concerns. But many Macfilos readers are “of an age” and will understand only too well.
Power of persuasion
Eventually, I persuaded myself that I could be happier with the smaller Panasonic Lumix S5 and then the S5II. The 24MP sensor wasn’t so much of a difference at the time, even when the 47MP SL2 came along. The Lumix S5 cameras are definitely smaller and lighter than the SL bodies. Even the SL2-S with which they directly compete. In their own way, they are excellent photographic tools. But, with the lower-resolution sensor, they cannot be compared directly with the SL3.
Nevertheless, they served another important purpose by introducing me to a range of lighter L-Mount lenses. Such as the Lumix S 20-60mm f/3.5-5.6 zoom which came in kit form with the bodies.
Despite the difference in the weight of the Leica and Panasonic S5 bodies, I came to realise the problem. The lenses were the biggest contributory factor in perception of weight and bulk. Leica’s superb glass, which is worth every penny for build quality and optical excellence, is unquestionably heavy.
This is especially noticeable in the case of the bulky Vario-Elmarit 24-90mm f/2.8-4 ASPH. It has always been one of my favourite L-Mount lenses. It is also the only L-Mount Leica lens I own. Perhaps I made the mistake of striving always to use only Leica’s SL glass with the SL and SL2. Experience with the lighter Lumix cameras changed all that.
It was time for a wholly new look and to banish all the old bag and baggage along the way. Would I gel with the SL3 when I had had such mixed views over the SL and SL2?
What’s new
While this isn’t a full test, it’s worth outlining the main differences between the SL2 and SL3 (apart from the menu and control aspects covered later in this article). The SL2 arrived in November 2019 and boasted a 47MP sensor without AA filter, an ISO range from 100-50000 (expandable to 50-50000), sensor-shift stabilisation, a 2.3” fixed screen, 5.76k-dot electronic viewfinder, 20 fps continuous shooting, 4K video resolution and a weather-sealed body.
The new SL3 was launched in March 2024 with a 60MP sensor, an ISO range of 50-100000, but a slightly slower 15 fps continuous shooting and 8k video. The size and weight are both slightly lower than the SL2. The SL3 weighs 850g, 55g lighter than the SL2. The overall dimensions are 141×108×85mm, compared with 146×107×83mm for the older camera. These differences are small, but taken together with the more rounded profile and the deeper grip, the body does feel and look smaller.
The new camera features one CFexpress slot and one UHS-II SD, while the SL2 had two SD slots. Some purchasers may well prefer the older set up.
The SL3 benefits from the more powerful Maestro IV processor and faster memory and Leica’s triple-resolution technology which allows users to choose between three different file resolutions.
It’s a family affair
For Leica owners, one of the big attractions of the SL3 over rivals from Panasonic is the integration of the user interface with that of other cameras in the Leica range. While there are some differences, as will become evident, the overall similarity of the menu and control concept is helpful if you own, say, a Q3 or, even, an M11. And even the little D-Lux 8 has now joined this family affair.
When moving from one camera to the other, the importance of a common interface and a familiar way of doing things cannot be underestimated. And it is especially so when that interface — primarily the menu system — is so logical, convenient, intelligible, and simple as Leica’s latest triumph.
Above: The ruined splendour of St. Dunstan’s in the East. The 950-year-old church was first destroyed in the Great Fire of London in 1666. Rebuilt by the incomparable Christopher Wren, it succumbed again to the Blitz in the Second World War. This time, the venerable site was left in peace as a refuge for busy City workers. Leica SL3 and Lumix 20-60mm f/3.5-5.6 at 20mm
Welcoming
Leica has been finding its feet in menu design over the past ten years, and the SL3 is the culmination of the search for a simple, easy-to-assimilate user interface. It is immediately more welcoming and user-friendly than any other camera that I can think of.
After a day or so with the SL3, I had been won over by the agreeable user interface and the single-minded concentration on fully customisable dials and function buttons. Forget labels. With the SL3, you know instinctively what everything does, simply because you have set the camera up to your preferences. Down to the tiniest detail.
The menu system
As with the Q3, D-Lux 8 and M11 (although the rangefinder has its special quirks), the new SL3 menu system is a triumph of clarity. Yet, the SL3 displays innovation even when compared with other cameras in the range. As the latest addition (if we exclude the D-Lux 8), the SL3 benefits from further development of the menu concept — for the better. If you thought the Q3 menu was wonderful, wait until you try the SL3. It is probably going to be the basis of the menu system for the Q4 when it arrives.
Control Centre
The Control Centre (or quick menu), which is very similar to its compatriots on other modern Leicas, is the first screen you see after pressing the dedicated MENU button.
However, it does differ in one significant aspect — that the bottom row of eight function items are now assignable (see below)
Including these newly customisable Control Centre buttons, there are now 17 assignable quick-access controls on the SL3, even excluding the screen swipe controls which not everyone will use.
Although the number of functions in the bottom two rows has been reduced from the ten on earlier cameras, the fixed Menu icon has been removed. It was always redundant, since a quick second press on the physical Menu button performs the same function. In reality, therefore, there is only one spot missing, and the remaining eight are now more useful because of the customisability.
Main menu
The menu system is simpler than before and is completely linear, with no obvious page breaks (as are apparent on the Q3 and D-Lux 8). Instead, the sections are flexible, with a top header indicating the main menu section as you scroll through the setting. The 33 items are split into six sections of varying lengths. Most items are accompanied by sub-menus, which are quite straightforward and easy to learn.
This is a better arrangement than the arbitrary and meaningless page numbers on all other Leica cameras.
So far, so good. But the innovative interface has far more depth than this list indicates. In setting up the camera, the Customisation section is of paramount importance — especially the Customise control sub menu, which takes a fresh approach to assigning functions to buttons. We will discuss the new customisable controls later in the Controls section.
For our full review of Leica SL3 menu content, see the earlier article on Leica’s menu systems.
Controls
The SL3 is characterised by the almost complete absence of dedicated descriptions on operating controls. Only the three back buttons have descriptions, while the rest of the camera’s controls are unmarked. Most competitors still retain a rather confusing mix of fixed-purpose and soft controls, which I find rather distracting. I felt more at home in a short time with the SL3 than I have done with any camera over the past few years.
Assignable functions
In previous versions of the menu (as on Q3, for instance) choosing functions for buttons and dials involves setting up a custom list of likely functions for every control. This soon becomes rather cumbersome and confusing. It requires a prior decision of the subset of functions you might with to assign to individual controls. At the outset, when you first set up a camera, this choice is by no means apparent.
Assignment of functions to controls has been simplified enormously by allowing users to edit a list of all 67 available options (I think of them Leica’s 67 Commandments) so that only those which you definitely need (or might conceivably need) are included in the scroll list. The resulting choice is then available to every function control, without the need for a special list every time. The trick is to go through the list with a clear idea of how you want to use the camera. See the lists in our menu article.
The chosen few
The next task is to choose, say, 20 functions that might conceivably be useful for Fn assignment to the six available buttons. Once you have selected them, the available functions from the assignment list are brought up when you long-press any of the Fn buttons.
The scrolling time during initial setup of Fn buttons is thus minimised. But, crucially, this list of options is available to all buttons rather than, as in the past, having to set up a different sub-set of options assigned to individual controls. It all makes so much sense and I really warmed to it. In fact, I should say that I came to understand the system more thoroughly than I have done in the past.
At first telling, this preliminary procedure appears tortuous but, in fact, it is magnificent because it permits complete customisation in the most efficient way possible. You can even set up several cameras within one body by using user profiles for different shooting objectives.
Even if you remove functions from the Fn-control options list, the full set of 67 controls is always accessible through the menu or through the quick menu, it’s just that you don’t think you will need to assign them to a physical button.
As you move on to setting up the individual controls (usually by a long press and then scrolling through options) you can choose from all your designated choices. I managed to get my pick-list down to just 12 functions, providing two options for every button. It’s remarkably simple and very intuitive when you get everything up and running.
Video guide
This outstanding video by Nick Rains of the Australian Leica Akademie provides an in-depth and graphic overview of the menu system. Watch it, and you will thoroughly understand and appreciate the brilliance of the new system. I differ with Nick on just one point. He recommends keeping the majority of the functions in the Fn button list, even though it does mean more scrolling.
I have more basic stills-photography needs, and there are many functions which I cannot conceivably envisage wishing to assign to a button. So my list is considerably shorter, thus simplifying the assignment process. In the diagram below, you can see the location and factory assignments of the six function buttons. These are supplemented by eight customisable function icons on the Control Centre and eight fixed swipe controls using the LCD panel. The three dials and the joystick complete the complement of controls.
My choice of Fn buttons
I have simple and rather basic needs. So this is how I set the function buttons
- Back of camera, next to viewfinder — Toggle EVF/LCD
- Top of camera, left — AF Mode
- Top of camera, right — Joystick lock
- Front of camera top rocker — Re-centre focus point
- Front of camera bottom rocker —Dial lock
This minimal setup wouldn’t suit most users. I am only too grateful to have function lock capability, that I am experimenting with allocating dial and joystick lock to two of the useful buttons. It could be this is something that I will tire of and the buttons can easily be reassigned.
Trains from Charing Cross: Leica SL3 and Lumix S f/3.5-5.6 20-60mm
Assignable Control Centre icons
However, it does differ in one significant aspect — that the bottom row of eight function items (see below, there are ten smaller icons on the Q3) can now be re-assigned to alternative functions through a long press and scroll through the options. This is a very useful feature which further adds to the user’s ability to set up every conceivable function to individual taste. There are 11 available options from which to choose the eight you wish to use.
- White balance
- iDR
- Sensor format
- User profile
- Shutter type
- AF profiles
- Format storage
- Flash settings
- Image overlay
- Perspective control
- Aspect ratio
Dials
The two large dials on the top of the camera and the thumb wheel on the back all have three available options:
- Aperture
- Exposure Compensation
- ISO.
In addition, the thumb wheel has a dedicated PASM function, which is brought up by pressing the wheel inwards and then scrolling. There is no separate PASM control on this camera, but I really like the push-and-rotate method Leica has adopted.
Set up your choice in the menu, where you can also choose your preferred method of dial rotation, which depends very much on your muscle memory. Do you wish to move the dial to the left for a faster aperture, or to the right? A bit of trial and error, and you will come to an amicable arrangement with those dials.
My dial choice
It’s a matter of juggling the three options, and my priorities are aperture (or speed) and compensation. I seldom change ISO settings, so this option resides on the least “handy” control on the left.
- Left-hand — ISO
- Right-hand — Aperture or shutter speed depending on mode.
- Thumb wheel — Exposure compensation (plus obligatory Exposure Mode press)
Joystick
The joystick is used as normal to scroll between options. Pressing the joystick operates in different ways when using AF and MF lenses. In AF mode, the choice is between focus and exposure lock functions, while in manual mode the options are between magnification and various shooting and exposure lock controls. These are set up separately in the menu.
Top-plate display
The 1.28in monochrome settings display on the top plate is unchanged in resolution, but it is a very helpful way of overseeing current settings. The absence of such a display on cameras such as the Lumix S5II is noticeable. I find it very useful, although the small font is a problem for those who need reading glasses but don’t wear glasses for general purposes.
As a handy reference, the display shows the crucial parameters in photo mode — mode, aperture, speed, ISO, exposure compensation and battery state.
Operation locks
I never thought I would be shocked to find the heretical words “operation lock” in a Leica instructions manual. After years of customer complaints (and much muttering in the Macfilos comments section) about wayward focus points on cameras from as far back as the generation X, Leica has finally given in. The SL3 gains some intelligent lock functions, which cut out much of the frustration caused by inadvertent prodding of levers and controls.
The main issue for many people was the inability to keep the spot focus in the centre of the frame if so desired.
While Leica would have us believe that everyone is now using floating focus points or intelligent focus such as eye/face detection, there is a band of traditionalist which has grown up with the rangefinder and quite likes the much-derided practice of focus and recompose when taking pictures.
I believed for many years that Leica was actively attempting to discourage focus-and-recompose as a dinosaur ready for extinction. But, when you think about it, the legendary M uses focus-and-compose exclusively (unless you fit an accessory EVF), so Leica users are accustomed to it. That they might want to use the method on a mirrorless camera is pretty basic thinking, to my mind.
Good news
The good news is that the SL3 has the ability to return the focus point to the centre by assigning one of the function buttons to this function. I used the top half of the toggle switch on the front of the camera, and it works like a dream. No more frustration. Other options enable the locking of various buttons and dials, including the joystick, again to avoid accidental changes.
This is all very sensible, and brings Leica into line with the practice of many camera manufacturers, including Panasonic. It is ironic that Leica was adding lock functions to the SL3 while deciding to remove them from the D-Lux 8 in the interests of “the essential”.
The poor old Q3 lags in this respect. Let’s hope a future firmware update might bring some sensible functions. The function lock battle has ended in a victory for common sense, and it should become a standard for future cameras.
Soft power button
A major change in the operation of the SL3 is the adoption of a soft power button, placed on the left-hand rear, next to the viewfinder. The new D-Lux 8 has now also acquired a soft button, and I think we can assume that this is to become the norm on Leica cameras (with the possible exception of the M).
I believe the reasoning behind this is that soft power control enables the camera to be switched on and off remotely, for instance by Leica FOTOS, and that this will become a feature of increased automation and remote operation. If the camera is switched off, you can wake it and join the WiFi through FOTOS.
The large power button is surrounded by an LED which shows various states, although I still find it difficult to decide whether the camera is switched on or off. This is especially so if the Live View screen is permanently disabled. On balance, I do prefer a physical switch, as on the M11, Q3 and earlier Leica cameras.
But I suppose it is something we have to get used to in the interests of progress. At the least, the SL3’s button is well out of the way of prying fingers, unlike its counterpart on the D-Lux 8 which can be activated accidentally because it is adjacent to the shutter button.
The viewfinder
For the first time, the floating design display ensures that the screen icons automatically adjust to the camera’s orientation.
When it was introduced on SL, the 5.76 million-dot viewfinder was the best you could get. Others have caught up and, even, surpassed this resolution, but the SL3 viewfinder is still exceptional. The SL3 introduces 120 fps refresh rate in addition to the 60 fps standard setting which most people will use as the default.
The viewfinder is enhanced by a large, workmanlike rubber eyepiece, which is extremely comfortable. The eyepiece can be rotated from -4 to +2 diopters, with a large, clearly marked screen. It is also stiff enough to resist inadvertent adjustment.
Handling
Here we get to the crux of this discussion. I have never doubted the abilities of the Leica SL cameras; in fact, I have been impressed with the control layout and operation of all three versions. And the SL3 is undoubtedly the best of the bunch, as it should be. It is the SL come of age.
The improvements to the user interface alone are enough to justify an upgrade, but the overall feeling and appearance of the camera is a surprising bonus. On paper, the differences between the SL2 and SL3 dimensions are minimal. A few millimetres here, the odd gram there. It’s a bunch of nothing, really. But add in the more cuddly appearance, the more rounded corners, and somehow this latest version feels radically different to its predecessor.
Wrist strap job?
Looking down at the camera in my hand, attached to one of the lightweight Lumix lenses, I find it difficult to believe that I ever thought this camera unwieldy or too bulky. It now seems just right. The built-in handgrip, though lacking the contours of the grip on the S5II and other similar “DSLR-style” mirrorless cameras, feels perfectly comfortable, and it provides that level of confidence that is missing in other cameras in the range — unless you cough up for an accessory grip, but that means extra weight. For the first time, I could even envisage this camera being attached to a wrist strap for informal use. Once upon a time, this sentiment would have been written off as evidence of insanity.
Handy
All the controls are easy to find and operate. After setting them up to your precise requirements, they are simple to identify. I have fairly basic control requirements, having cut my teeth on the elementary options of rangefinder cameras, and I find the function buttons and dials more than adequate for 90 percent of my photography. The viewfinder is still one of the best on the market, and the clearly marked and stable diopter control is a model of its type.
When used with lightweight AF lenses, the camera is very handleable and the weight is acceptable. But the body is substantial enough to complement Leica’s heavier primes and zooms when required.
My opinion has thus entirely changed. The SL3 is a delight that is the ideal basis for an L-Mount system — if you can afford it, that is.
Charging and battery life
The SL3 is one of the new breed of cameras that come without an external charger. Instead, the battery must be charged while inside the camera. A USB-C cable is provided, but you must supply a power-supply unit (or buy Leica’s optional accessory).
I have no objection to this arrangement, since I generally prefer in-camera charging. However, if you wish, you can purchase an accessory double-bank charger pod to allow two batteries to be replenished at the same time. The SL2 came with a single-battery pod, but I believe that if you need more than in-camera charging, it is sensible to go for the double unit.
Battery life is officially rated as 260 frames, which is 190 less than the equivalent figure for the SL2. Power-saving techniques such as using EVF extended, turning off live view and sticking with the 60 fps EVF frame rate — plus turning off FOTOS and wireless functions — can no doubt stretch these figures. During my two weeks with the SL3, I found I was averaging around 300 frames on a single charge (with the power-saving functions enabled). This is poor for a camera in this market segment, with Nikon and Canon offering greater battery life.
M lenses
One of the stand-out benefits of the original SL was the supreme compatibility with modern Leica M lenses. The SL3 is no exception. As soon as a six-bit-coded lens is attached, the camera recognises the lens and sets up the profile. It also sets itself to manual focus mode. It’s so simple and so easy. Who needs an M rangefinder with EVF when the SL3 does the job so well? The expensive Leica adaptor does its job faultlessly, but note that some cheaper third-party adaptors may not convey lens detail, nor tickle the camera into setting up profiles.
You don’t own one of Peter Karbe’s spiffingly expensive but world-beating APO SL lenses? So why not use one of his spiffing and even more expensive APO-M lenses — that is, if you happen to have one hanging around.
35 Apo-Summicron
As it happens, I was able to use the new 35mm close-focus APO-Summicron-M. The SL3 brings out the best in this magnificent lens. I would normally say that manual lenses should be used on a manual camera, that is a rangefinder, for the best experience. But the seamless integration with the SL3 is almost as satisfying.
In any case, to get the best out of the new close-focus lenses (down to 30cm instead of the traditional 70cm) you need to mount the Visoflex EVF on your M. So there is little to lose and everything to gain by using these lenses on the SL3. This is definitely an encouraging experience.
However, to get the best results from a modern Leica lens (and the efficient transfer of EXIF data) you should consider purchasing the Leica M-Adapter-L. I say this reluctantly because, at £370, it is hugely expensive. There are several third-party options, including those from Novoflex, but you should make sure that the lens data is transmitted to the camera and that the correct lens profiles are adopted automatically.
Manual focus is extremely accurate thanks to the wonderful SL3 viewfinder. The various degrees of magnification, assisted by discreet focus peaking if required (but which I don’t particularly like), ensures accuracy. No worries about back focus here, even with those “traditional” lenses noted for the problem. The SL3 excels, also, in helping focus “difficult” lenses such as the f/0.95 Noctilux or the 50mm Summilux. You can get your razor-thin depth of field while checking the result in the finder.
Autofocus lenses
The main reason I now find the weight of the SL3 bearable is because I used it mainly with Panasonic’s lightweight Lumix S lenses. All weigh about 300g and ensure that the SL3 remains a comfortable carry-around camera. The Lumix S 20-60 zoom is now my favourite go-to L-Mount lens for casual photography. It is slow, but sharp and a joy to use. It also offers the perfect range of focal lengths. I’d trade 20mm for 70mm any day, and this lens is simply a joy to use. Don’t listen to those who discount it simply because it is mainly supplied as a kit with Lumix cameras.
Leica’s SL lenses are built for quality, with their all-metal bodies and superior optical performance. The latest 35mm Apo-Summicron-SL, for instance, is one of the world’s best autofocus lenses from any manufacturer. At £3,908 it is the finest companion for the SL3 you could wish for. However, it doesn’t come without a weight penalty. At a hefty 750g, it is twice the weight of the “standard” Leica 35mm Summicron (which itself is 70g heavier than the Panasonic 50mm f/1.8).
Superb zoom
The other lenses in the Leica-SL range all perform admirably. I am particularly fond of the Vario-Elmarit-SL 24-90 f/2.8-4 ASPH which is currently the only Leica L-Mount lens I possess. It’s a superb zoom, one of my favourite Leica SL lenses in everything but weight. I consider it to be my “eventing” lens. It goes with me to static special events such as car shows, where I transport it to the venue by car. That way, I don’t have to carry it around all day. For such use, I prefer something lighter.
If you value your back muscles and don’t mind saving a few pounds or dollars, the Lumix range of primes is well worth taking seriously. I remain a fan of the whole range of Panasonic f/1.8 primes because they are so convenient and compact. It really is no great problem to carry the SL3 and two of these lenses.The Leica SL primes (except for the more affordable 35mm and 50mm Summicrons) are all considerably heavier.
Lens line-up
These are the lenses used with the Leica SL3 in the photographs in this article. Note that the price of the 35mm Apo-Summicron-M (below) includes the cost of the adapter.
| Lens | Street price | Weight | Weight with SL3 |
| Lumix S 50mm f/1.8 | £386 | $348| €439 | 300g | 1,150g |
| Lumix S 20-60mm f/3.5-5.6 | £402 | $270| €669* | 350g | 1,200g |
| Lumix S 100mm f/2.8 macro | £899 | $864| €1,099* | 298g | 1,148g |
| Leica 35mm Apo-Summicron-M with adapter (£370) | £7,270 |$8,495|€8,540 | 390g | 1,240g |
| Leica 24-90mm Vario-Elmarit-SL f/2.8-4 | £3,945 | $5,895| €5,550 | 1,140g | 1,990g |
| Leica 14-24mm Super-Vario-Elmarit-SL f/2.8 ASPH | £2,220 | $2,695|€2,600 | 855g | 1,705g |
If you wish to stay within the Leica ecosystem, the Leica Summicron-SL 35 f/2 ASPH and the Leica Summicron-SL f/2 ASPH are optically very similar to the Lumix 35mm and 50mm f/1.8. They are more solidly built, with metal bodies, and weigh around 70g more than the Lumix optics. Similarly, the Leica 14-24mm Super-Vario-Elmarit f/2.8-4 is similar optically to the Sigma 14-24 F2.8 DG DN | Art. It weighs 795g. The Sigma provides the benefit of a physical aperture ring and costs £1,298 | €1,499.
Favourite lenses
You’ve seen the list of lenses I had available during this review of the Leica SL3. Which is my favourite? That’s hard to say. I love the Leica 35mm Apo-Summicron-M, but I wouldn’t buy it specifically to use with the SL3. While I used to enjoy playing with M lenses on mirrorless bodies, I now prefer AF lenses in the main. The two Lumix primes and the underestimated 20-60 are all excellent and were near-constant companions because of their light weight. To paraphrase the old pocket-camera adage, the best lens is the one you have with you. If it’s too heavy, it is likely to remain at home.
If relative use is anything to go by, the Lumix lenses win out here. Of the “keepers” from over 1,000 shots, the Lumix S 20-60 f/3.5-5.6 was the one I used most. I have 128 decent shots from this lens. Then there is Lumix S 50mm f/1.8, coming up closely at 105 images. The Lumix S 100mm Macro was responsible for 91 shots, and the Leica 24-90 Vario Elmarit f/2.8-4 for 69. I would probably have clocked up more with the excellent Lumix S 24-105, but I took it out on only one occasion. Similarly, the 35mm Apo-Summicron M (4 keepers) was a brief fling. The Leica 14-24mm Super-Vario-Elmarit-SL f/2.8 clocked up a surprising 21 keepers, although I took it out only once. This lens was supplied with the camera by Leica, a rather curious choice, but welcome nonetheless.
Conclusion
After owning both previous versions of the SL, the SL3 has come as a revelation. The new menu system, the revised control layout and the more compact feel have combined to convince me. If you want the benefits of a high-resolution sensor, the choice of some outstanding glassware and undisputed quality, the Leica SL3 could be the perfect choice. This is one test camera I hated to return, and I have now added the SL3 to my wish list for a future acquisition.
if you wish to delve more deeply into the SL3 controls and menus, download the instructions manual here
Jonathan Slack and the Leica SL3
Perspective control comes to the SL2
Rock n’ Roll straps for the SL, SL2 and SL3
Review Leica Super-Vario-Elmarit-SL 14-24 ASPH
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Enjoyed this article and the pictures. Lovely old cars and a church in London. Have an SL2 and just love it. Own the 50 Summicron and the Leica 14-24 F2.8 and can see why they gave you the SL3 with that lens to try out – did you try Perspective Control with the 14-24? – to me it makes the sum greater than the parts. But also appreciated your input on using the lighter and (gasp) cheaper Lumix lenses. And no one ever mentions how great the diopter is on the SL line, to change from naked eye, to glasses, to contacts -in my case all different- is so logical and easy. Don’t think I’ll spring for an SL3, though. I like SD Cards straight into the MacBook Pro M3 and a metal ON/OFF switch – very German!
Thanks, Graham. I agree with you on the diopter adjustment, now you come to mention it. It’s big, beefy and stays where it’s put. I didn’t use perspective control, although I did similar adjustments in LightRoom. The 14-24 was an unusual lens to supply with a test camera and, in the end, I didn’t make much use of it. Mike
I bought the Leica 24-90mm and it’s an incredible lens. But it’s so heavy it mostly sits in a camera bag. I’ve bought the Lumix 24-105mm and LOVE it. I think it’s very sharp, certainly adequate for my purposes. But it’s LIGHT and very easy to shoot with. It makes my SL3 very practical.
Not to be too disparaging of Leica but for me the SL3 was a true disappointment and I sold it for a painful 25% discount.
I’m still scratching my head about the microscopic reduction the body size which prevented reusing the SL2 grip and SmallRig cage and at the same time reduced IBIS and missed the opportunity to have internal storage. The power button is confusing and they should’ve included crop mode in video and retained the SL2 font style. I agree with you too Andy, that the SL probably had the best look.
With so many accessories including flashes hanging over from the SL2 – I can re-purchase it for a 60% discount and just use it as my studio camera.
One more thing to add – instead of Leica Looks – they should create profiles which can be further modified in Lightroom.
John, thanks for adding this aspect of non-fitting accessories. I hadn’t even considered this aspect since I don’t have any SL accessories. I agree it must be confusing. I was looking at the camera with a fresh eye. But you make some good points that I am sure readers will take into account. A used SL2 begins to sound like a bargain.
Dear Mike, thanks for revisiting the SL3 after a while once the usual noise around a new product has settled . As a long term user and fan of the SL series I have of course been tempted to give the SL3 a try. I also use native SL lenses and I always had the impression that my SL lenses are just idling on the smaller sensors and a sensor like the one in the SL3 could finally unleash their full potential.
Still despite this I tend not to like the camera. It’s too cluttered, doesn’t bring any major advantages over the previous systems and comes in my view at a ridiculous price point compared to what the competitors have to offer. The advantage in higher resolution is not relevant for most of the work I do.
In my opinion the first generation still offers the best “Bauhaus” style design with a minimalist Leica user interface as close as it gets to an EVF M camera. It’s a design marvel. The next generation brought up useful features like IBIS and and case of the SL2-S unmatched lowlight capabilities from a BSI Sensor. So what’s left for the SL3 despite the big sensor to justify the price? The improvements in AF capabilities are there but no game changer and definitely not on par with the likes of Sony or Canon. A massive disappointment is that there’s no integration of AF functions for manual lenses like Nikon`s Zf system. What a missed opportunity! You should try this its an eye opener of what is possible today with manual lenses.
Finally ,how does the camera market receive the SL3 after a year`s time? First cameras appear at least here in Germany on the second hand market and the depreciation seems to be higher than on previous models. After half a year the cameras are sold pre owned with no signs of use for a 20% off.
Quite a way to burn money especially as the previous generations are available almost new for a bargain. So a a used SL3 will get you a SL2 and together SL-2 as well. I know what I would do…
So I will sit back and relax with the feeling of not having missed too much. Still I have the feeling that the SL3 despite being a good camera was another missed opportunity.
Cheers,
Andy
Thanks, Andy. All good points and represent an alternative viewpoint. I was interested in your comment on depreciation, at least in the German market. I had difficult finding second-hand units in the UK, but maybe I didn’t look far enough (no eBay, for instance). I would like to have an SL3 but decided to wait for a used one to grab my attention. Having reviewed the camera, I am now busy with other stuff, including the M11-D and other newcomers. But thanks for the comprehensive response. Mike
Thanks, Mike, for a fine exposition of the SL3 and the salient issue with SL cameras and lenses: size and weight. As another reader commented, Leica has moved a long way from its originating theme of a small (and light) camera offering big pictures. But that did not just begin with the SL line; it started decades ago with the M5 and the Leicaflex series of cameras and R lenses. Violating that originating theme, Leica then made the mistake of dropping the original analog CL, apparently to protect M5. Today, the slightly smaller size and slightly lighter weight of the SL3 are certainly steps in the right direction, but I am not convinced that they are sufficient for me personally, and so for a so-called “mirrorless” camera, for now I am sticking with the second (digital) CL, whose recent dropping by Leica brings to mind the old maxim about “those who do not learn from history.” Interestingly, some months ago, Leica user Thorsten von Overgaard suggested that “a new full-frame version [of the Leica CL] is expected in 2024 as a way to use L-mount lenses on a smaller camera body.” Time will tell about that, but if accurate, it would imply the need for some smaller, lighter L-mount lenses as well (such as the non-APO, Summicron 35mm and 50mm lenses derived from Panasonic’s f/1.8 versions).
Thank you, Art. I also have also wondered why Leica did not produce a smaller version of the SL, perhaps based on the TL. But for a fully featured mirror less camera, I suspect the S5 is as small as it gets. To go smaller (as with Sigma) involves some compromises, especially in the viewfinder.
I also saw Thorsten’s prediction on the full-frame CL but were running out of time in 2024!
Hi Art, the article you reference is in the meanwhile 9 months old, and since then not even one rumor has surfaced that confirms Thorsten’s article. I don’t see it happening quite frankly, and certainly not this year, and if the rumors are true Leica is about to release a Q with a 43mm lens, and if that is the case I don’t see them releasing a full frame CL anytime soon, also not next year. Next year BTW will be 3 years that Leica left its APS-C customers stranded… without offering any solution whatsoever…
Weight? Age? I’m 78 and happiply use my SL with just about any lens – Going on a 5-week trip through Central Africa and my backpack weighs 12 kg – no problem at all.
But apart from that – great article, enjoyed it.
Great you can still manage all that stuff, and long may you continue! I was thinking more about readers older than you. Most of the people over 80 that I know have made a decision to cut down on weight. But I also have a friend slightly younger than you who travels the world with the 24-90, 50 Apo and 90-280. It’s definitely more than I can manage. Thanks for your positive comments. Mike
Hello Jaap, You are such a youngster yet, try it again and see if you come to the same conclusion at 88 (my age!), whatever. I hope you also greatly enjoy the years in between, Don
hi Jaap
Hi Mike, excellent article, that being said I am kind of struggling to see what makes the SL3 any different from the previous 2 iterations… The menus are simple and the camera is not so heavy when used with M-lenses or with Sigma/Panasonic lenses, we have known that since 5-9 years now already, right? The SL3 is 55g lighter than the SL2 and about the same weight as the original SL, so in 9 years there has been no progress whatsoever whereas Leica has succeeded in making the (already lighter) M yet another 100g lighter… A matter of priorities I have to assume and the fact that Leica positions the M (and not the SL) against Sony? I own the original SL with the 35mm APO SL, it is fabulous and if the combination weighed 1,100g it would probably be all I needed but unfortunately it weighs 1,600g and I am not taking it anywhere… A lighter weight body like the Panasonic S5 II would in my opinion move the needle much more than the SL3, together with a number of smaller and lighter weight (Leica designed) primes.
Thanks, SlowDriver. There is a large element of subjective perception and, indeed, I felt that the latest version feels easier to handle. But the lens issue is crucial. When I previously owned SLs, I was using exclusively Leica SL and M lenses. The lighter weight LUMIX lenses, in particular the 20-60, were not in my collection at the time. As far as the S5 II is concerned, this is an excellent camera and I have sung its praises often in the past. However, the S cameras (are they still making them, I wonder) are the direct equivalents of the SLs, both in weight and size. It will be interesting to see what Panasonic comes up with in their long-delayed upgrade.
Yes, B&H has the Panasonic S1 and S1R as Special Order and the S1H as Back-ordered. I am also curious to see what they come up with next. And I wonder how the S9 is selling. I haven’t read much about it after the initial round of reviews 3-4 months ago.
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“..crucially, this list of options is available to all buttons rather than, as in the past, having to set up a different sub-set of options assigned to individual controls..”
Sorry ..that’s where you lost me. And an hour-long video just to show how to set up the Menu(s)?
I went on a ‘course’ at Leica back in 1980 – was it one day or two? – to show users how to work the R4. That’s when I gave up on Leica SLRs. I remember writing then that the R reflex cameras were “dinosaurs” ..and so they were.
..But they now seem to have got even worse. I can’t understand who drinks the Kool-Aid: “..Leica menus are so simple..” Really? Unmarked buttons, so you must remember every function, and what’s been assigned to which button. That’s handy in a hurry. And 60 megapixels? Clearly Leica thinks that’s stupid, too, so they’re offering a more reasonable 36 or a much more sensible 18 megapixels ..but if you use 18 megapixels you’ve still paid for 60, so you’re throwing away two thirds of what you’ve paid for! ..Sensible, or what?
Nearly £6k for the camera, and £7,270 for an f2 35mm lens? That’s £13k to take olde traditional 35mm photos. I’m laughing so hard I’m falling off my chair! ..Pass the hankies, nurse!
Once, Leica was known for small, lightweight cameras with good lenses. That’s how they made their name. This thing looks like the Jawas’ Transporter, costs about the same, and is powered by marketing hyperbole. Doctors are now taking appointments for “Doctor, Doctor, I paid all that money for the ‘very absolute top-of-the-range’ expensive camera; but why don’t my photos now look any better than before?”
Thank you, David. The article was aimed at existing SL owners and potential buyers. It’s up to them if they want the SL3 enough to buy it. Clearly the SL your cup of tea, but it’s good that we all have our different opinions and desires. It’s all a matter of personal choice in the end. Mike
Thanks for this. I’ve no interest in L-Mount (size, weight, arthritis) but I really enjoyed the photo tour of London!! Lovely work.
Thank you Kathy. I had only a few days with the camera and had no opportunity to get out of London. So had to make the best of it.
when a man is tired of London … or so sayeth the great Cham 🙂
Hi Mike, a brilliant article covering important usage aspects of this tool. The lighter non Leica AF glass will be a joy for those when weight is a compelling aspect.
Thank you Brian. The incredible range of lenses for L-Mount provides so many opportunities.
What a great article Mike, I’m amazed that you have managed to get to the heart of the matter so quickly!
I think it’s a wonderful camera, and it seems better the more you use it.
All the best
Jono
Thank you, Jono and for your continued help and support.
Mike
The most fascinating thing about this review is that photo with ‘faux bokeh’ from the iPhone.
Fascinating because it is so utterly awful. I know it was a fun photo but it was a real eye opener to me after hearing how clever these apple phone cameras are meant to be.
Great review from a hands on reaction point of view.
As someone who never prints over 10×15 on 13×19 paper I am happy to stick with my new SL2-S.
Agree. It is awful, as my editorial colleague Keith James pointed out at the proofreading stage. However, I have seen much better results from the iPhone. Although this was intended as a fun picture, I can see that it could cause confusion, especially if the viewer doesn’t read the caption. It would be sad if anyone assumed the picture had been taken by the SL3 and a Leica lens! So I’ve cropped out the “fun” background, and I think the resulting product shot is all the better for it. Thanks for your input on this, much appreciated.
Mike you should also try the Lumix 14-28, it is superb, weighs not a lot, and costs so little. Don
Thanks for the tip, Don
Hi There Don
I’ve been having a lot of fun with the Lumix 70-300, which seems to be an excellent lens.
Hello again Jono, I have always loved your work and common sense reviews, even noted your increasing interest in action photography. People often chide me for using anything Leica for action shots, even tell me to get a Canon. What they do not realise is I have a Canon but prefer to use such as my SL2 and actually it is not the action slouch so many claim it to be. For what it is worth the only option throughout my career was manual focusing, whereas nowadays the AF of my supposedly slow to focus SL2 does a far better job than my old eyes can do. Anyway although long retired I still like to keep- my hand in via occasional photo outings to my local amateur soccer or rugby clubs where the SL2 and my equally highly rated Sigma 100 to 400mm do still manage to turn out plenty of Pro level results.