Almost all of us have daily rituals that we carry out with incredible precision. I’m no exception, and having a morning coffee while reading the news is one of them. A visit to photography forums is always a must. To put things in perspective, it’s August 2024. The big news has already been announced: Leica has a new star in the form of the SL3. Yet it creates no remorse
When Santa arrives in August
Perhaps because I don’t expect anything, my surprise was even greater when I read that a well-known and famous photographic store in northern Germany was running a promotion for the SL2 and SL2-S models. It’s unusual to read this kind of news from Leica, and it reminded me of a famous movie from the late 1970s: “I’m gonna make him an offer he can’t refuse.”
But do I need a new camera? No, says my brain… Do I want a new camera? Yes, you can never have too many cameras, says my heart… and besides, it’s a machine that’s not yet outdated… Or at least that’s what I want to believe… in psychology, they talk about emotional dissonance.
Resistance is futile when it comes to Leica
No, the offer is incredible, almost too good to be true. Thank goodness the photo shop is more than 800 km from where I live; I can’t pick it up immediately, but what if I call my local Leica store, will they have the same offer?
To cut a long story short, I spent almost 15 days trying to resist those siren calls until I finally succumbed. Yes, I admit it, I couldn’t resist, and after a short phone call, I found myself sitting on the train on my way to Constance in Germany to pick up a Leica SL2.
Buyer’s remorse
A phenomenon that has been observed and studied is what marketing calls post-purchase depression. Simply put, it’s the pangs of conscience that come with having purchased a luxury item or product. Having spent a significant amount of money, made me question the decision I made.
My pseudo-post-purchase depression didn’t stem from the monetary expense (or at least not exclusively), but rather a tormenting doubt: should you always buy the latest model? Or, to put it another way, does a camera with 47 megapixels still have a future?
A trip for work creates an opportunity
The question was purely rhetorical, but I needed to counteract this feeling of remorse, and at the first opportunity, the camera was in my backpack, on my way to the Adriatic Riviera in Italy, to the Riccione Hospital, near Rimini. That was my first already scheduled trip after purchasing the camera to photograph the process of the operating theatre for eye surgery procedures. And it wasn’t my first time at that specific hospital, giving me some advantages as I was familiar with the medical team, and I knew what I was going to find in terms of location.
The Italian Riviera and memories of Fellini beckon
Many of us associate the Adriatic Riviera with places like Rimini, Ancona, or other famous beach resorts. Bordering Rimini is the town of Riccione, which, although smaller than the former, is nonetheless famous.
Already in the 1920s, it was a beach resort frequented by families and the “influencers” of the time. Ironically, Riccione is also known for being the place where the wife of an Italian dictator owned a villa where he spent his holidays.
Marchesa Eugenia Beccadelli built it in 1892, it is now owned by the region and has been converted into a cultural centre where exhibitions, especially photography, are held. Whenever my professional activity takes me there, I try to make the most of my time by visiting the current exhibitions.
Arriving during Ferragosto
One very peculiar thing is that, during the summer, opening hours are adapted to the prevailing heat. Let me explain: it’s quite normal, except for large retail stores, that shops, offices, and government agencies are closed during the mid-summer break “Ferragosto”, which runs from July to mid-September.
As a result, they reopen after 4 or 5 pm and remain open until 11 pm or midnight. This peculiarity has allowed me to see exhibitions such as those dedicated to Robert Capa, Steve McCurry, and Vivian Meier.
Mare Magnum
The one that’s open late to the public features photographs by various members of the Magnum agency and is dedicated to the sea, with a very significant name, “Mare Magnum.” The exhibition can be visited until October 5th, and I can recommend it without reservation, saying that it’s one of the most interesting exhibitions I’ve seen about the sea.
Mangia Bene
But it’s not all about art and photography; the Emilia-Romagna region is also known for its high-quality cuisine. Many of the well-known Italian specialities come from this region. Whether for an apéritif, lunch, or dinner, there’s a restaurant to suit any budget.
There’s an exquisite variety of dishes and specialities for all tastes and preferences; one thing is certain: hunger never goes away. And as in any other Italian city, you can’t forget the coffee ritual. And if you want to go unnoticed and avoid being recognized as a tourist, avoid ordering a cappuccino after 11 am.
But some of us still have to work!
Perhaps some readers are wondering why I’m taking photos in an operating theatre. I work for an ophthalmology company, and my role is to provide technical support and monitor the technical quality of the procedures. I have daily contact with glaucoma surgeons, and I’ve been fortunate enough to accompany them on many surgeries.
No operation is trivial, and eye surgery has its risks, which are minimal if the standards are high and regularly audited. For this reason, being present in the operating theatre is essential. It’s not necessary to document the entire process photographically, but it’s very useful to have “visual” notes. This was where I wanted to test the camera thoroughly.
Is the SL2 right for my work?
Coming back to my primary job with the SL2, the first question was, would it be too big to go unnoticed in a healthcare setting? What lens should I use? Would it be quiet enough? Will I feel a sense of remorse?
And as with any photo shoot, a minimum of preparation is necessary. Obviously, the equipment must be checked in advance, but I have to confess that I’m human and have forgotten to take a memory card with me or charge the camera battery, more than once…
Rule number one:
When in operating theatre, get out of the way. Don’t get in anyone’s way and let the medical team do their job. It’s important to minimize the disruption to the people who have specific duties. For example, the person in charge of acting as a springer. That means avoiding standing in the entry and exit area, and disturbing the flow of people working.
“Check your six”
There are all the cables, oh the cables… An operating room is full of machines with different functions, such as cataract or glaucoma surgery, assisted respiration, microscopes, lights, etc. And all the machines have several cables each, which can be for electrical power, compressed air, oxygen, and so forth.
These cables must be avoided at all costs, so they don’t interfere with people focusing on their responsibilities during an operation. Many of these cables and connections hang from the ceiling, so are a bit like Spanish Moss. And above all, don’t trip over them and end up falling, which might cause a huge amount of noise, startling the surgeon or the patient. Or, even worse, disconnecting a machine during an operation. That would be the absolute disaster.
Look before you move
It’s best to choose one or two spots in advance where you can observe the surgery without getting in the way, from where you have a good overview of the movements of the personnel working. And if you get closer for a more detailed photo, remember that the entire area where the surgeon and the assistant staff are located is a sterile zone. All contact must be avoided.
This means you’ll likely need a fairly long focal length lens, from 50mm (up to 120mm), or a zoom lens that covers, for example, 20-60mm to give you more flexibility if you want to take a general view of the situation.
Rule number two:
Concentration is important, speak only when asked, and answer clearly and concisely. On this note, one thing that’s practical and useful, but not absolutely necessary, is a quiet camera. Obviously, an SL2 is not an M6 or M11, but it is not a noisy one.
And if your focus assist light is turned off, you will not be noticed because in an operating room, there are times when it’s completely silent, and others when you feel like you’re in a street market. Here again, using the common sense helps, to go unnoticed. Rule number three: you can take pictures; you just ask permission (and the patient must not be recognisable).
Being unintrusive
I equipped the camera with an excellent Panasonic 50mm f/1.8, knowing these rules and having experience with how to move around. It’s a lightweight, versatile lens that allows for non-intrusive capture of pictures during the operating room action.
To my surprise, the camera isn’t as heavy as it appears in this configuration. It’s not noisy and produces good results in an environment where different light sources, with their varying temperatures, can cause problems. So far, the experience is delivering no remorse.
The measurement was quite accurate, with no issues with the white balance. I usually take a photo of a grey card that I almost always carry with me. An alternative would also be to take a photo of a white object as a reference later.
Versatility of the L System
As mentioned earlier, accurate and precise focusing can be achieved despite all the cables and hydraulic arms hanging from the ceiling of the different machines that you can find in an operating room. As I understood, this has been one of the most criticized aspects of the SL2.
Here again, it’s a matter of considering the type of photography you want to do. I can understand why some professional photographers might complain about a certain slowness in focus tracking. But for my way of working and shooting, the focusing is fast and reliable. The recording speed is also more than sufficient (obviously with a good memory card), so I don’t have to shoot bursts of several seconds.
Economics and ergonomics
Why a Leica again when there are other alternatives? As explained, the final decision to choose the SL2 was strongly influenced by economics. The price difference between the SL2 (on sale) and the SL3 was almost triple, and the updates the SL3 offered compared to its predecessor didn’t justify (at least for me) the investment.
There are also two important reasons why I opted for the L-mount system. The first is the ease of use and the simplicity of the menus. Here I must emphasise that Leica has done a good job. For a photographer who uses one of their cameras, adapting to another Leica system doesn’t require a great effort. I know several professional photographers who work with the M and L systems, and switching between them very fluidly without requiring any adaptation time is a significant advantage.
A lens choice for almost every use
The second reason is the wide range of lenses available from various brands that comprise the L-Alliance. Some are from different brands, but with very similar optics and features (malicious tongues say they are identical), allowing the amateur photographer to purchase a lens according to their needs and budget.
There is a website (in German) where you can see all the lenses (approximately 200!) available from various brands for the full-format L system, as well as a current price guide with different offers. This is a very helpful aid when choosing lenses.
Although, this also entails some difficulty due to multiplicity of choices. That’s why it’s interesting to make a kind of checklist of requirements for selecting a lens. At least, this is the method I use.
Simplifying choice
To start with, a standard zoom, such as a Panasonic 20-60mm f/3.5-5.6, which, without being too fast, has good performance and covers many situations. Furthermore, this is a kit lens, which many people don’t use and put up for sale, and there are good deals on practically new lenses. If we add a 50mm, an 85mm, both f/1.8 from Panasonic, and a 100-400 from Sigma, you have an excellent photographic equipment set that can cover many situations.
A workhorse
What is the SL2 like for everyday use? Personally, I consider the SL2 (and I think this can also be passed on to its successor) an exceptional work tool. It’s easy to use, the menus are intuitive, and it gives a feeling of robustness and high quality. The design is minimalist and attractive, with acceptable ergonomics.
Why is it only acceptable? For me, the least positive point (I would rather not call it negative) is the weight. The camera body weighs 920 grams with the battery, according to the technical specifications, and you must add the weight of the lens. No, this is not the light weight I’m used to with the M, but it’s also a different type of photography, and certain compromises must be made.
How did I arrive here?
My first photography experience was, of course, with my father’s camera. When I was about 13, my father considered me mature enough to let me try my first few attempts with a Yashica Lynx 5000 E which, conceptually, is very similar to a Leica Q: that is, a very fast 40mm fixed lens (sound familiar?) and relatively compact.
Then I upgraded to an SLR system with a Canon AE-1 Program and its 50mm f/1.8 lens. In the early 2000s, for technical work reasons, I switched to Nikon, experiencing the development of digital SLR cameras. They were all excellent cameras, magnificent work tools, optics that left nothing to be desired, and yet I was missing something. What was it?
The search for simplicity
Perhaps it was nostalgia for working with a simpler system. I was searching for a simplicity I no longer had; I didn’t want to get lost in menus with ever-increasing pages and possibilities. I understand it’s a need for a certain type of photography, but it wasn’t what I was looking for or needed. And logically, there are few options when you’re looking for simplicity.
The full-frame format M-E (type M-9) had just been released, which was for me one of the essential criteria, and with a second hand 50mm Summicron lens, I began my Leica journey. One of the first things I noticed was the change in rhythm experienced when focusing manually again. It sounds clichéd and obvious, but manual focusing forces the photographer to compose more carefully and observe calmly and in detail.
Final thoughts
Since Leica began collaborating with Panasonic on the SL line, I’ve closely followed the development of their mirrorless cameras and excellent lenses. I consider this type of camera a perfect complement to an M or Q system, which allows me to cover another type of photographic field and to use the M lenses that I have.
The camera delivers exceptional image quality. The size of the sensor leaves the option to crop (if necessary) and does not produce massive RAW format images that require the purchase of several external hard drives to store the photos.
The excellent price-quality ratio, especially considering the phase-out option, accompanied by the quality and variety of lenses available on the market for the L-mount, makes it an excellent camera with a lot of life left in it. Yes, the SL2 is still an excellent option in 2025.
I am happy with the SL2? Yes, absolutely. Do I need an upgrade to the SL3? No, well, at least for the moment, not everything has to be the latest model. There is no remorse.
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I like the combination of travelogue and work photography. I enjoyed your description of the difficulties and concerns photographing in an operating theatre – very informative. Great to see another photographer seduced by the simplicity of Leica menus. Leica really do have a good way of doing this don’t they.
I am intrigued by how you found the relative bulkiness of SL-series and lenses. When I had a play with a friend’s SL, I found it rather a beast of a thing not conducive to manoeuvrability or lightness. Seeing the Q on the table, did you think you might have been able to shoot the operating theatre job with the Q?
Yes, the SL is bulky and heavy, some of the objectives also. But for me it “lays” well in the hands and it is well balanced. And yes, definitively you can get very good results with the Q as well, the most of pictures were taken with the 50mm 1.8 from Lumix. With the Q you would have enough reserve to crop the image.
I found this to be an interesting mix: personal journey with cameras, travel (do you think I can find a sputino in North America?), medical and technical on the requirements for your work. Procedure for photographing in the operating room was also ‘eye-opening'(if I may).
One of the challenges for the article, I think, was providing engaging pictures in the operating room when you can’t actually photography much of people or their faces. In that context, I enjoyed your photo of ‘happy surgeon’ next to Leica scope.
Thanls for a tour that few people get to expreience.
“Do you think I can find a sputino in North America?” You can find a “spuntino” but it’s likely to be called Tapas or Pintxos and be found in a Spanish restaurant or bar. “Spuntino” basically means snack or small plate food.
Thanks, Jon. Your remark sent me 50 years into the past when I was lecturing at Complutensis Madrid. The Math Department had a stand where you could get a small sherry, some olives or almonds, or a slice of jamon on bread. Though, it seemed best that I skip the sherry!
I’ll tell you, I’ve never seen a math department like that in the States 🙂
When going to Milano, do not forget the “apericena” (Aperitif/Dinner), ordering a drink around 06:00 pm and you would get a plate with some foccacia, pizza stripes, olives etc…then you can skip dinner.