Leica TL2 Type 5370
The latest model in Leica’s ‘T’ interchangeable-lens camera series offers improvements in speed, ease of handling and flexibility.
The Leica TL2 sits squarely at the top end of the ‘prestige’ market, with a high build quality, distinctive design, and an array of colourful accessories.
It’s likely to appeal to snapshooters who want the flexibility of an interchangeable-lens system but the familiarity of a smartphone-like icon-based interface.
The Leica TL2 is the third model in a series of interchangeable-lens cameras based upon a compact ‘unibody’ machined from a single block of aluminium. We reviewed the original Leica T (Typ 701) back in May 2014, but not its successor, the Leica TL. The new model provides further improvements, with an increase in resolution from 16 megapixels in the T and TL to 24 megapixels in the TL2. The new Maestro II image processor adds 4K/30p video capabilities and an electronic shutter with a top speed of 1/40,000 second, with the latter boosting continuous shooting from seven to 20 frames/second.
Angled front view of the Leica TL2, silver version, fitted with the Vario-Elmar-TL 18-56mm f/3.5-5.6 ASPH. zoom lens, one of the options available with the camera body. (Source: Leica Camera.)
Like the original T, the TL2 will be offered in silver and black versions, with the camera body carrying an RRP of AU$2750, which is $450 more than the original model at its launch. It will be sold through Leica-approved re-sellers and Leica boutique stores. Accessories designed for the T and TL ““ including adapters for Leica M and R lenses, the Visoflex (Typ 020) EVF and SF26 flash ““ can be used with the new camera.
Angled front and rear views of the Leica TL2 showing the two colour options plus two different lenses. (Source: Leica Camera.)
Who’s it For?
Built and priced like a professional camera but operating like a consumer camera, the TL2 is targeted at the same folk as its predecessors: ‘New customers who want state-of-art technology, modern lifestyle products and are lovers of premium brands’ (to quote Leica’s summary at the launch of the LeicaT). We’d summarise the typical buyers as snapshooters who want the flexibility of an interchangeable-lens system but the familiarity of a smartphone-like icon-based interface. Whichever assessment you prefer, the TL2 sits squarely at the top end of the ‘prestige’ market.
As a snapshooter’s camera, the TL2 is rather large. It’s similar in size to the larger, more feature-rich models in Fujifilm’s range and heavier than most entry-level DSLR bodies. Like its predecessors, the TL2 also plugs a gap between the X-system and the M-system, providing the interchangeable-lens option missing from the former and the AF and AE facilities the latter lacks.
It also makes an emphatic style statement, not only for its distinctive design but also for the array of colourful accessories, some of which come in eye-catching colours like red and yellow. You can get leather protectors for the camera body plus complementing coloured straps, coloured rope straps, a leather holster and a smart ‘system bag’ that can hold the camera plus a couple of lenses, a flashgun and the Visoflex EVF.
When the original Leica T was launched in 2014, there were only two dedicated lenses on offer: a standard 18-56mm f/3.5-5.6 ‘kit’ lens and a compact 23mm f/2 prime. Now there are six covering the following focal lengths (35mm equivalent focal lengths shown in brackets):
– Vario-Elmar-TL 18-56mm f/3.5-5.6 ASPH. (27-84mm)
– Super-Vario-Elmar-TL 11-23mm f/3.5-4.5 ASPH. (16.5-34.5mm)
– APO-Vario-Elmar-TL 55-135mm f/3.5-4.5 ASPH. (82.5-202.5mm)
– Summicron-TL 23mm f/2 ASPH. (34.5mm)
– Summilux-TL 35mm f/1.4 ASPH. (52.5mm)
– APO-Macro-Elmarit-TL 60mm f/2.8 ASPH. (90mm)
The TL2 can also accept all L-mount lenses as well as lenses from the Leica M and R through Leica-branded adapters. While the TL2 lacks built-in stabilisation, it can take advantage of the stabilisation function in Leica’s SL lenses with OIS. A special setting is provided in the Still Image sub-menu.
While there isn’t a huge choice of focal lengths for photographers, the lens range certainly covers popular focal lengths. To extend capabilities, users of the TL2 can also fit lenses from Leica’s more extensive L-mount range for its ‘full frame’ cameras as well as Leica M- and R-mount lenses via an appropriate adapter. Naturally, the 1.5x crop factor will apply.
There have been a few modifications to the body, the most noteworthy being the elimination of the pop-up flash provided in the previous models. A hot-shoe embedded in the top panel accepts compatible flashguns and the camera supports flash synch at shutter speeds up to 1/180 second.
The remaining changes are internal, with the upgraded sensor and image processor being responsible for most of the performance improvements. Resolution has increased from 16.3 megapixels to 24.3 megapixels and the new Maestro II image processor increases ISO sensitivity from 12500 to 50000.
The shutter mechanism has been modified to add an electronic shutter with a top speed of 1/40,000 second. Continuous shooting speeds have risen from five frames/second (fps) to seven fps with the mechanical shutter or 20 fps with the electronic shutter.
The buffer capacity has more than doubled from 12 frames in the Leica TL to 29 frames at full speed in the TL2 and possibly more, depending on the memory card properties. The TL2 supports the latest UHS II cards, whereas the TL didn’t even provide UHS I compatibility. Its internal memory has also doubled since the original Leica T and is 32GB, the same as the TL’s.
The ability to record movie clips with 4K resolution at 100Mbps is another feature that lifts the TL2 above its predecessors. The T and TL were limited to Full HD 1920 x 1080 pixel movies at 30 fps or HD at 1280 x 720 pixels, also at 30 fps.
Although the user-adjustable external controls haven’t changed, the menu system has undergone a re-design, which relies even more on the touch-screen operations. Leica claims to have improved the responsiveness of the screen to make it easier to navigate functions, although you still have to know which icons to tap and where sub-menus can be found.
The icon-based menu is split into nine categories: Still Image, Exposure, Focus, Motion Image, Connectivity, Monitor/EVF, Play, General and Flash. This array covers the entire monitor screen and provides the gateway to all camera functions.
Tapping on an icon opens sub-menus that allow functions to be selected. Any of these functions can be dragged to the customisable My Camera menu, indicated by an icon in the vertical panel to the right of the screen. Once you’ve set up your own arrangement of camera settings they will be displayed in the array when the camera is switched on and you tap on the camera icon.
Some sub-menus contain only one or two items; others (such as the white balance and ISO sub-menus) have a list of multiple settings. A number of functions (such as ISO and white balance) are pre-set to auto by default in the My Camera menu but any item’s position can be changed and new items can be dragged into the menu or deleted from it. Individual settings can be selected via either the camera’s setting dials or gesture control.
The new menu system also addresses one of the irritating features of the Leica T’s controls: the automatic re-setting of the self-timer to off after each shot. In the new menu, functions engaged via the menu remain engaged when the camera is switched off so if you’ve left the self-timer activated, it will operate the next time you use the camera.
In the aperture priority, shutter priority and auto program modes, the right setting dial adjusts the aperture, shutter speed and program shift functions respectively, while the default setting for the left dial is ISO, although this can be changed. Each dial can be locked to a function by holding a finger on the related function display until the camera indicates it’s locked. Users can also choose whether they want particular operations or a full memory card to be indicated by audible tones, or if they prefer near-silent operation of the camera.
An additional scene preset, digiscoping, has been added to the original array that consisted of the following options: fully automatic, sport, portrait, landscape, night portrait, snow/beach, fireworks, candlelight, sunset. This allows the camera to be connected to a spotting scope or telescope for telephoto shooting. These settings disable the two setting dials and the program shift function.
Although the AF system still uses contrast detection, autofocusing has been improved to provide a claimed threefold increase in lock-on speed over the Leica TL. For focusing, however, the touchscreen interface still defaults to Multi-point AF, which over-rides touch focus control. If you want touch AF with or without shutter release, it must be selected in the menu.
The key USB and HDMI interfaces have been ungraded, with USB Type C 3.0 and HDMI 1.4 ports, respectively and USB charging is supported. There have also been improvements to the built-in Wi-Fi system plus a new app that works with both Android and iOS devices to provide a remote viewfinder and remote control.
However, battery capacity has fallen from 400 shots/charge in the Leica TL to 250 shots/charge in the TL2, which is reasonably accurate if you activate the Wi-Fi and fit the Visoflex EVF. (You would probably get more in warmer weather and without the EVF and Wi-Fi.) The new camera is also marginally heavier, at 399 grams with battery included, compared with 384 grams for the original T.
The Film Mode settings carry over unchanged to the TL2 with the Standard mode producing a very slight boost to contrast and saturation, the Natural slightly reducing both and the Vivid setting boosting both noticeably. The two monochrome settings, B&W Natural and B&W High Contrast provide the anticipated results and are easy to use.
The TL2 provides the same adjustments for contrast, sharpness and saturation as its predecessors, each parameter adjustable by sliding a fingertip along a scale. An asterisk is displayed beside each scale to indicate adjustments have been carried out.
Build and Ergonomics
Changes to the body design are mostly small and subtle and the new camera is physically very similar to its predecessors, including the original Leica T, which we reviewed in May 2014. Machined from a single block of aluminium, the camera body has a solid feel, with a subtle grip moulding and a smooth finish to the anodised surface. Sadly, it isn’t weather-sealed ““ and neither are the lenses.
The front panel of the Leica TL2 with the Vario-Elmar-TL 18-56mm f/3.5-5.6 ASPH. zoom lens. (Source: Leica Camera.)
Aside from the removal of the built-in flash, the top panel layout is largely unchanged, with the shutter button sitting proud of the flat surface and surrounded by the on/off lever switch. The customisable function button lies to its right. By default it starts and stops movie recording.
The top panel of the Leica TL2 with no lens fitted. (Source: Leica Camera.)
Behind are two setting dials, which are used in conjunction with the on-screen menus for selecting camera functions. By default, the right dial controls aperture, shutter speed and program-shift adjustments while the left dial adjusts ISO settings.
The only other items on the top panel are the accessory shoe, which accepts compatible flashguns or the optional Visoflex (Typ 020) electronic viewfinder. Astride the accessory shoe are four-hole microphones for recording movie soundtracks in stereo.
Rear view of the Leica TL2. (Source: Leica Camera.)
The rear panel is almost entirely covered by the 3.7-inch monitor, which has a resolution of 1,229,760 dots and is non-adjustable. It’s the same monitor as used on previous models with a capacitative touch-screen covered with low-sheen Gorilla Glass.
To the right of the monitor, a lift-up panel covers the memory card slot plus USB and HDMI interface sockets. LED indicators between the monitor and panel show the status of data transfer and battery charge.
The battery is located in the usual place below the grip moulding. It has a permanently-attached metal cover that lies flush with the base plate and is locked in place by a lever.
The battery comes out in two steps when the lever is turned. The first step lifts its cover above the base plate, while a second catch releases it completely. The only other item on the base plate is a standard tripod socket, which is positioned in the centre of the plate, off the lens axis.
The side panels feature Leica’s Easy-Click system for attaching straps to the camera, which require a special pin that is inserted into a socket on each side of the camera body. The result looks nice and keeps the strap from tangling. But the pin is easy to mislay and, not surprisingly, relatively costly to replace.
Our main gripe with the Leica TL2 is the same as for the original Leica T: the lack of a built-in EVF. We requested (and received) the optional Visoflex (Typ 020) EVF when we were offered the camera to review. More information on the Visoflex can be found below.
We’re uncertain about whether removing the flash was a good move; in most cases, these cameras work better with available light and the flash in the previous models was pretty feeble. However, photographers who plan to fit accessory flashguns should be aware they can’t do so when the EVF is in place because both devices use the same accessory shoe.
Another issue we identified with the original Leica T that still hasn’t been addressed is the lack of proper image stabilisation. It’s not built into the camera body and absent from the current range of TL lenses. Nor is dust removal, a surprising omission in the current marketplace, particularly when some manufacturers combine dust removal with sensor-shift stabilisation, which surely would be possible in the T-series cameras.
Like its predecessors, the TL2 only supports the sRGB colour space. That will probably matter little to snapshooters but could be another deal breaker for serious landscape photographers.
Image and Movie Sizes
Unlike the Leica T, which couldn’t record raw files on their own, the TL2 is able to record DNG files independently, as well as JPEGs and RAW+JPEG pairs. DNG.RAW files can be uncompressed or losslessly compressed and are always at a resolution of 6016 x 4014 pixels. However, whereas the Leica T provided five image sizes and two compression ratios, the TL2 has only three JPEG sizes to choose from: 24 megapixels (6000 x 4000), 12 megapixels (4272 x 2856) and 6 megapixels (3024 x 2016). RAW+JPEG pairs are always captured at maximum resolution.
Including 4K video in the TL2 improves its capabilities over the previous T-series cameras, which were limited to Full HD (1080p) and HD (720p) and a frame rate of 30 fps. However, compared with the Leica SL, the TL2’s 4K mode is pretty basic, with a resolution of 3840 x 2160 pixels and a frame rate of 30 fps. The TL2 also includes a SLOMO (slow motion) setting which records 702p clips at 120 fps.
This illustration shows how much the image frame is cropped when the camera is in movie mode. The inner rectangle shows the movie frame.
As in previous models, only part of the sensor area is used in movie mode, leading to a reduction in the field of view. The camera manual provides no information about how much the frame is cropped but, going by our tests (shown above) we estimate the effective focal length of the lens is increased by about 30%. According to the user manual: When using video stabilization, the trimming is slightly reduced compared to operation without stabilization.
Clips can be up to seven minutes long with 4K resolution or 29 minutes with 1080p and 720p, up to a maximum file size of 4GB. In movie mode aperture, shutter speed and ISO adjustments are determined automatically by default, although manual over-ride is possible for all three functions. The automatic exposure control will adjust for fluctuations in brightness when clips are recorded.
Soundtracks are recorded in stereo with the built-in microphones and a wind filter is available for suppressing wind noise when recording are made out of doors. Leica warns that both AF and zooming noises can be picked up by the microphones, although the camera operates relatively quietly on the whole.
The Visoflex (Typ 020) EVF
The Visoflex (Typ 020) electronic viewfinder clips into the hot-shoe on the TL2’s top panel after you’ve removed the covers that protect the contacts on both devices. Once in place, it draws power from the camera’s battery when the camera is switched on. It sports a rotating knob that allows dioptre settings to be adjusted from -3 to +3 dpt as well as an eye sensor that automatically switches from the monitor to the EVF when you raise the camera to your eye.
Although the monitor on the TL2 is bright enough for outdoor use, it can’t provide an accurate representation of the scene so you must cope with some degree of point-and-guess shooting, particularly when recording movies. The Visoflex overcomes this by providing a display of the scene with the levels of brightness, contrast and colour saturation the sensor will capture.
The Visoflex electronic viewfinder angled to show the eyepiece and tilted slightly upwards. (Source: Leica Camera.)
The Visoflex The eyepiece can be tilted up through 90 degrees and, while it isn’t ratcheted, the hinge is strong enough to hold the eyepiece in any position between horizontal and vertical. It’s also easy to use while wearing glasses, although it really needs a rubber eyecup to keep out stray light, which tends to intrude, particularly when the sun is at a low angle.
Front view of the Leica TL2, silver version, with the Visoflex fitted. (Source: Leica Camera.)
The Visoflex has some real advantages.
1. It provides more comfortable viewing in sunny conditions.
2.The high resolution (3.7 million dots) of the screen and the size of the display ensures excellent viewing quality The image appears brighter than most EVFs as well as sharper.
3. The screen displays the main camera settings, which can vary depending on the shooting mode you select. It also provides a battery status icon.
4. It adds GPS capability to the camera, a useful feature for both landscape and wildlife shooters.
However, it also has a few downsides. It’s expensive (RRP AU$720) and, unfortunately if you’re wearing glasses it can be REALLY slow to respond, although without glasses it would often react quickly when the eye sensor was triggered.
In the worst case scenario, we found it could take 15 seconds or more before the screen displayed a picture. We missed a number of shots as a result and finally gave up using the Visoflex for street shooting because it simply wasn’t fast enough.
The GPS function also takes a few minutes to engage because it has to acquire signals from at least three satellites. This is excusable and relatively easy to deal with because the satellite link should persist while you’re shooting at a particular site with the camera switched on. A ‘satellite’ symbol is displayed on the screen to show the camera can add location data to image files.
Finally, anyone who purchased the TL2 when it was first released should be aware of a problem with using the Visoflex EVF, which received quite a lot of publicity online. Leica has fixed this problem with new Firmware (v. 1.1) which is available to download from Leica’s website and is installed in all cameras that are currently offered for sale.
Connectivity, Playback and Software
Very little has changed in all three areas, although the Wi-Fi function in the camera is now compatible with both iOS and Android devices (instead of just iOS as it was with the Leica T). The Leica TL app is available through the Apple App Store as well as the Google Play Store.
Selecting the Wi-Fi icon in the camera menu lets you establish a connection to either a smart device or a router. Once connected, you can use the Web Gallery function to browse images in the camera.
The Wi-Fi function draws power from the camera battery and will quickly deplete it if it’s left on. Consequently, it will be automatically disabled if an active USB connection between the camera and a computer is detected.
The Playback mode on the TL2 is similar to the original T’s and essentially touch-based. It’s somewhat limited compared with most compact cameras but supports functions like slideshow playback with user-adjustable duration settings, zoom and image tagging.
No software was supplied with the review camera and, interestingly, there’s no offer of a free download of Adobe Photoshop Lightroom when owners register their camera on the Leica Camera AG website as there was for the original Leica T. Fortunately, the DNG.RAW files from the camera can be converted into editable TIFF format with any image editor that includes raw file support, including older versions of Photoshop and Photoshop Elements.
Since we only received one lens with the review camera, all testing was carried out with the Summilux-TL 35mm f/1.4 ASPH. lens. Test shots taken with the Standard, Vivid and Natural Film Modes had lower levels of saturation and were roughly 1/3 of a stop brighter than their equivalents from the Leica T. Contrast levels were also slightly higher, which could be inconvenient in contrasty outdoor lighting. Fortunately, DNG.RAW files provided plenty of scope for adjustment across all parameters and tended to yield excellent results.
Our Imatest tests, which were conducted with the default Standard Film Mode reflected the reduced saturation levels and showed the camera to be capable of the expected resolution in the centre of the frame with JPEG files and reaching acceptable levels near the periphery. With raw files, resolution comfortable exceeded expectations in the central third of the frame and came close to expectations near the edges and corners.
We found the expected decline in resolution as sensitivity was increased, although raw files retained a relatively high resolution right up to ISO 6400. The decline in resolution at higher ISO settings was less than occurs in most cameras that offer ISO settings of 25,000 or higher. The graph below shows the results of our tests.
Low-light performance was generally excellent. Long exposures at night showed little noise at most ISO settings, although some was visible above ISO12500. We also saw slight softening in images at the highest ISO settings although overall performance at high sensitivities was better than we’re accustomed to seeing with most cameras we test. Shots taken at ISO 50000 would be usable at small output sizes and for some screen-based applications.
Autofocusing was quite variable and depended in the focus area setting and subject type. With the AFs (single) mode plus spot focusing and centrally-positioned subjects, the camera could lock-on almost instantly. The same was true for landscape and cityscape shots when multi-point AF was selected.
Focusing was a little slower in the AF-C mode, which is the default setting for movie capture. Once focus is found, it appears to lock-on while the shutter is half-pressed and but we found the system was relatively slow to re-adjust to moving subjects while shooting a movie clip. The Face Detection mode was relatively quick to find human subjects within the frame and locked-on in less than one second.
If you select the Touch focus setting in the focus mode sub-menu, you can tap on the screen to set the active focus point, which is retained until another area is selected. This can be combined with triggering the shutter to capture a frame.
In theory, you should be able to select or move a focus point while viewing the scene through the Visoflex EVF and it’s certainly possible. But we found the design of the camera body made it a little more difficult than it is in other cameras with this option.
Auto white balance performance was similar to that of the Leica SL, although the TL2 provides fewer settings and less control. With the default Auto setting, the camera failed to completely remove the warm cast produced by incandescent lighting but produced slightly better correction with LED lights and close to neutral colours under fluorescent light.
Like its predecessors, the TL2 has no pre-set for either fluorescent or LED lighting. The Tungsten pre-set over-corrected slightly, introducing a slight blue cast. Manual measurement delivered neutral colours with all three lighting types and the Custom settings were easy to use.
Video quality was mostly acceptable, given the camera’s limitations, although clips tended to have inherently elevated contrast. There are only three resolution settings with no control over frame rates and you can’t fit an external microphone. Bit rate also varies from 100Mbps for 4K through about 30Mbps for 1080p to 20Mbps at 720p, ending up with 10Mbps in the slow motion mode.
We found the SLOMO setting raised the exposure level by roughly two thirds of a stop, compared with the other settings, where the auto exposure function quickly adjusted to changes in scene brightness. The digital stabilisation system produced only a slight degree of steadying when the camera was hand-held in the normal modes and none in the slow-motion mode.
The quality of the soundtracks was quite good for internal microphones. But not up to professional standards, even with 4K footage.
For our timing tests we used a Lexar Professional 64GB SDXC UHS-II memory card, which claims a transfer speed of 300 MB/second and is fast enough for recording 4K movies and fast bursts of high-resolution stills. The review camera took just over a second to power-up and the Visoflex EVF viewfinder took a further second to display the scene when the eye sensor was tripped ““ provided we weren’t wearing glasses.
An average capture lag of 0.25 seconds was eliminated by pre-focusing. Shot-to-shot times in the single-shot mode averaged 1.25 seconds. It’s difficult to estimate processing times because, although the tiny indicator LED on the rear panel switched off within roughly 0.5 seconds, the display on the monitor screen took an average of 5.6 seconds to refresh. This was true regardless of the file format (JPEG or DNG.RAW) and also with RAW+JPEG pairs.
Using the mechanical shutter in the high-speed continuous shooting mode, the camera recorded 36 JPEG frames with maximum quality in 4.8 seconds before pausing, which equates to a frame rate of 7.5 fps. It took 5.9 seconds to refresh the screen display after this burst.
Losslessly compressed DNG.RAW files filled the buffer memory at 33 frames, which were recorded in 4.4 seconds, which is the same frame rate as we measured for the JPEGs. It took 6.7 seconds to refresh the screen display after this burst.
Swapping to RAW+JPEG capture, we recorded 37 frames in 4.9 seconds, which is a marginally faster frame rate. It took 5.4 seconds to refresh the screen display. The fast memory card probably accounts for the speed and buffer capacity discrepancies from the specifications list.
There’s nothing in either the user manual or the camera’s menu system to show how to select the electronic shutter so we were unable to run any tests. We can only assume it clicks in automatically when you’re shooting movie clips and when exposure times less than 1/4000 second are required.
As we indicated in our review of the Leica T, it’s difficult to write up reviews of Leica’s products without including comments on price, which has always been a factor associated with the brand. Put briefly, Leica makes premium products and prices them accordingly. The prestige of owning a Leica product is factored into the price and the build, handling and presentation of the camera and lenses reinforce that message.
Whether this camera and its associated lenses justify their price tags is up to each individual purchaser. If high build quality, image quality, style and the Leica red dot are important to you, you’ll probably find the TL2 meets your needs.
While we weren’t enamoured of the touch-based menu, we can see its appeal to people who enjoy using their smartphones. It’s certainly functional enough once you’ve learned to use it (which is try of other manufacturers’ more conventional menu systems), although it’s quite limited in scope. Again, however, potential purchasers will likely find it ‘good enough’.
As far as image quality is concerned, if you shoot DNG.RAW files, the TL2 should live up to your expectations of a Leica camera. JPEG shooters should also be content, particularly if they use the Vivid Film Mode and share their photos on-screen. We’re more ambivalent about video quality, although the 4K movies looked pretty good and had acceptable soundtracks.
The best local price we found was AU$2695. B&H has it listed at US$1950 (= AU$2459.15 on 21/8/17), which when you add AU$65.59 for shipping and $302.23 for ‘duties and tax’, adds up to almost AU$2827. So it’s cheaper to buy locally, even for such a pricey bit of gear!
For the money we’d prefer the Leica Q, which has a fixed lens and is a bit more expensive than the combo we reviewed but comes with an excellent built-in EVF plus lens-shift stabilisation. These features in an interchangeable-lens camera could be a winner for Leica in today’s market.
Image sensor: 23.6 x 15.7 mm APS-C CMOS sensor with 25 million photosites (24.3 megapixels effective)
Image processor: Leica developed Maestro II
Lens mount: Leica L bayonet fitting (accepts Leica TL and SL lenses plus lenses with Leica L-Mount, Leica M/R lenses using the Leica M-Adapter L/R-Adapter L)
Focal length crop factor: 1.5x
Image formats: Stills ““ DNG.RAW, JPEG, RAW+JPEG; Movies ““ MP4
Image Sizes: Stills ““ 6016 x 4014 (DNG.RAW only), 6000 x 4000, 4272 x 2856, 3024 x 2016; Movies: 3840 x 2160 p (4K) 30fps, 1920 x 1080 p (FHD) 50 fps or 1280 x 720 p (HD) fps or 1280 x 720 p (HD) 120 fps (SLOMO)
Image Stabilisation: Lens based (no dedicated stabilised lenses available yet)
Dust removal: No
Shutter speed range: 30 to 1/4000 seconds with mechanical shutter plus electronic shutter to 1/40000 second; flash synch at 1/180 second
Exposure Compensation: +/- 3EV in 1/3EV increments
Exposure bracketing: Three pictures in graduations up to +/- 3 EV, adjustable in 1/3 EV increments
Self-timer: Selectable delay time 2 or 12 seconds
Focus system: 49-point contrast detection AF plus manual focusing
Focus modes: Single point, multi-zone, spot, face detection, touch AF
Exposure metering: Multi-zone, centre-weighted and spot patterns
Shooting modes: Fully automatic, program AE, aperture priority, shutter speed priority, manual setting.
Scene presets: Sport, portrait, landscape, night portrait, snow/beach, fireworks, candlelight, sunset, digiscoping
Film Modes: Standard, Vivid, Natural, B&W Natural, B&W High Contrast
Colour space options: sRGB only
ISO range: Automatic, ISO 100 to ISO 50000
White balance: Automatic, presets for daylight, cloud, halogen lighting, shadow, electronic flash, two Custom settings, manual colour temperature setting
Flash: Optional system compatible flash
Flash modes: Automatic, automatic/red eye reduction, always on, always on/red eye reduction, slow sync, slow sync/red eye reduction
Flash exposure adjustment: +/-3 EV in 1/3EV increments
Sequence shooting: Approx. 7 fps with mechanical shutter or 20 fps with electronic shutter
Buffer capacity: 29 frames at full speed, then depending on memory card properties
Storage Media: 32 GB internal memory plus single slot for SD/SDHC/SDXC memory cards; UHS II-standard is supported
Viewfinder: Optional Leica Visoflex Electronic Viewfinder
LCD monitor: 3.7-inch touch-screen TFT LCD with 1,229,760 dots (854 x 480 pixel per colour channel)
Interface terminals: Micro HDMI (type D), USB type C (3.0 Super Speed), Leica flash interface with integrated connection for optional accessories; battery charging via USB connection possible with max. 1 A.
Wi-Fi function: Complies with IEEE 802.11b/g/n standard (standard WLAN protocol), channel 1-11, encryption method: Wi-Fi compatible WPA/WPA2, access method: Infrastructure operation
Power supply: Leica BP-DC 13 rechargeable lithium-ion battery; CIPA rated for approx. 250 shots/charge
Dimensions (wxhxd): Approx. 134 x 69 x 33 mm
Weight: Approx. 355 grams (body only); 399 grams with battery
Distributor: Leica Camera Australia, (03) 9248 4444, http://en.leica-camera.com/
Based on JPEG files.
Based on DNG.RAW files converted into 16-bit TIFFs with Adobe Camera Raw.
All test shots were taken with the Summilux-TL 35mm f/1.4 ASPH. lens.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with LED lighting.
30-second exposure at ISO 100, f/1.6.
30-second exposure at ISO 400, f/4.
15-second exposure at ISO 1600, f/5.6.
10-second exposure at ISO 6400, f/9.
5-second exposure at ISO 12500, f/8.
3.2-second exposure at ISO 25000, f/5.6.
2-second exposure at ISO 50000, f/5.6.
Standard film mode, ISO 100, 1/640 second at f/5.6.
Vivid film mode: ISO 100, 1/640 second at f/5.6.
Natural film mode: ISO 100, 1/640 second at f/5.6.
B&W Natural film mode: ISO 100, 1/640 second at f/5.6.
B&W High Contrast film mode: ISO 100, 1/640 second at f/5.6.
ISO 16000, 1/100 second at f/5.6.
ISO 4000, 1/125 second at f/5.
ISO 50000, 1/100 second at f/8.
ISO 25000, 1/100 second at f/7.1.
ISO 100, 1/100 second at f/7.1.
ISO 200, 1/100 second at f/8.
ISO 100, 1/250 second at f/9.
ISO 100, 1/320 second at f/8.
ISO 100, 1/640 second at f/5.
ISO 1600, 1/100 second at f/6.3.
ISO 100, 1/320 second at f/9.
ISO 400, 1/125 second at f/5.6.
Still frame from 4K (3840 x 2160 pixels) video clip.
Still frame from Full HD (1920 x 1080 pixels) video clip.
Still frame from HD (1280 x 720 pixels) video clip.
Still frame from slow-motion video clip at 120 fps in HD resolution.
Additional image samples can be found in our review of the Summilux-TL 35mm f/1.4 ASPH. lens.
RRP: AU$2750; US$1950 (body only)
- Build: 9.0
- Ease of use: 8.5
- Autofocusing: 8.4
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 8.5