Popular Post jonoslack Posted May 6, 2021 Popular Post Share #1 Posted May 6, 2021 Advertisement (gone after registration) Here it is, Leica have just announced the new Vario Elmarit SL 24-70 f2.8 ASPH for L mount cameras. It's smaller and 300gm lighter than the 24-90, has a constant f2.8 aperture and is only a little bit more than half the price of it's bigger sibling. Even cheaper if you buy it as a kit with the SL2 or SL2S. Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Conventional wisdom would have made such a lens both bigger and more expensive than the 24-90, so what's the story? A careful examination of the lens body gives a clue: "Made in Japan" (all the other SL lenses are "Made in Germany"). Leica have had successful collaborations for many of their products over the years, more recently with the D-Lux and V-Lux cameras. Lens collaborations with Konica, Minolta, Kyocera, Zeiss, Schneider and Sigma have all resulted in fine lenses over the years, sometimes at more 'sensible' prices than Leica originals. In this article I'm going to look at the new lens with relation to the existing 24-90 zoom in the hope that it will help photographers make a reasoned decision about which they should buy, or whether they might need both. For more sample images you can read the article here: https://www.slack.co.uk/leica-24-70-vario-elmarit.html Design The new lens has an all metal construction and looks exactly like the other members of the Leica SL zoom range, it has an 82mm front element (as do all the other zooms). It is weather-sealed and has a beautiful metal petal shaped lens hood (slightly ironic that the other Leica zooms have plastic lens hoods!). The lens hood actually works well on the 24-90 without causing vignetting. The lens is manufactured in accordance with Leica tolerances and QA requirements. It also focuses extremely close; as is often the case it focuses closer at wide angle. More unusually the reproduction ratio is greater at the wide angle end: 1:2.9 at 24mm and 1:4.5 at 70mm. In contrast the 24-90 is 1:7.2 at 24mm and 1:3.8 at 90mm. The Leica Vario Elmarit does not have buttons for AF/MF focus lock and zoom lock, however the manual focus over-ride works really well on the SL cameras and in my view makes the buttons redundant; by touching the manual focus ring you can invoke manual focus or focus lock at any time. I guess it might be more of an omission if the lens was used on another brand of L mount camera. The lens does not have Image Stabilisation - which might be a disappointment using it on the SL, but as the newer models have IBIS it doesn't feel like a problem. It would inevitably have been larger and heavier if it did have it. Another slight irritation is that the zoom ring works the other way round compared to the rest of the Leica zoom lenses. Constant Aperture vs Variable Aperture A Constant Aperture Zoom lens is one (like this Leica 24-70 f2.8) where the aperture does not change as you increase the focal length. A Variable Aperture zoom is one where it does change (like the Leica 24-90 f2.8-f4). Traditionally variable aperture zoom lenses were cheaper and smaller than constant aperture lenses, However Peter Karbe once explained to me that in designing a zoom lens you either had a variable aperture or you were forced to 'throw away' the opportunity of a larger aperture at the wider end. He felt this was a waste, and I'm inclined to agree. Certainly there is nothing 'cheap' (or small) about the design of the 24-90, Leica made the best lens they possibly could, but decided not to make it a constant f4 (which of course it could be). There are various reasons why constant aperture lenses are considered to be advantageous, some of these are better than others! Definitely there is a snobbery amongst some photographers, probably fuelled by the fact that the most expensive zoom lens from any manufacturer is usually of constant aperture. For Video you certainly don't want the exposure to change when you zoom in or out. So this lens will be a welcome addition for video photographers who would have had to limit themselves to an aperture of F4 or smaller when shooting with the 24-90. Stills photographers, many of whom shoot with manual settings would also say that they need a constant aperture, but it seems to me that this is a problem from the days of film, where the ISO value was fixed (and the low light performance pretty poor). These days if you want to shoot with manual exposure in low light - for example a concert when you want to set the slowest sensible shutter speed and a suitable aperture, then you can use the Auto ISO feature to ensure the correct exposure, and, unlike video, it doesn't matter if this changes when you zoom in and out (and of course it will be advantageous to have the widest aperture possible available). Image Quality The image quality with the 24-70 Vario Elmarit is quite excellent. The lens is sharp at all apertures and focal lengths. Like all zooms there is a little fall off towards the corners, but it's never serious. Being so good wide open, there isn't a great deal of benefit to be had by stopping down. Like many mid range zooms sharpness drops a little at the telephoto end. I've done detailed comparisons between the new 24-70 and the older 24-90 . I shot a series of images at 24, 35, 50, 70mm and f2.8 (or the largest aperture available in the case of the 24-90), f5.6 and f8. One setup was a brick wall at about 3 metres, and the other a poplar tree at about 40 metres. Chromatic Aberration Both lenses are admirable in this context - even tree branches against a grey background seem to be okay - I think it's a draw Colour Shooting daylight white balance (in the daylight) I think that the 24-70 has a very slight yellowness compared to the excellent colour on the 24-90 - nothing in it again. Flare I spend a lot of time shooting into the sun, and both of these lenses perform admirably in very difficult lighting. Bokeh It's very difficult to make any real judgements here, but my instinct is that the bokeh on the 24-90 is a little more 'nervous' than the 24-70. Resolution / Sharpness I was really expecting the 24-90 to be sharper right down the line, but it is very nuanced and the difference quite small (as you might expect by looking at their respective MTF charts). Both lenses performed extremely well at all focal lengths. I've come to the conclusion that the 24-90 is slightly better, especially at longer focal lengths, but it's a very close call.: At 24mm the 24-70 is sharper at the corners and the 24-90 sharper at the centre, by 35 mm the 24-90 is slightly sharper at the corners, it's a dead heat at centre. By 50mm the 24-90 is a little better and by 70mm it is noticeably better if you really look. The 24-90 is still excellent at 90mm at all apertures. It should be emphasised that both lenses are extremely good at all focal lengths and apertures, and I think it's vanishingly unlikely that these small differences would make the difference between a good shot and a failure. Which should I buy? The big question! In terms of image quality the difference is small enough not to matter, but I suppose that shooting landscape I would probably prefer to use the 24-90, partly because of the longer range and partly because of the sharper corners. If you are contemplating buying into the Leica SL system then I really think that the new kits with either the SL2 or SL2-S are a 'no-brainer', and if you plan to shoot a lot of video, especially in low light, then the 24-70 with it's constant aperture is a definite attraction. For event shooting, weddings and concerts, I think I'd still use the 24-90 for it's longer range, but there is a real argument for using the new, lighter lens if you are going to have to carry it about all day! Conclusion The new lens certainly feels and operates just like any of the other SL lenses, the only real distinction is the "Made in Japan" engraved on the body. Most SL users would prefer to have a Leica lens, and if Leica can achieve it this way I hope that they do more collaborations in the future. The L mount is really gathering momentum, but there are lots of users who would like Leica telephotos and extreme wide angle, and this is a great way to achieve it. the 24-70 Vario Elmarit is a fine lens and a welcome addition to the stable of SL zoom lenses, the image quality is really good, it has lovely bokeh and is great for close up. The build quality is just what one expects from Leica and the lens handles very nicely on any of the SL cameras. The lens is compact and relatively lightweight and very well priced, it also has a constant aperture which will be welcome for videographers. What's not to like! 29 16 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! Conventional wisdom would have made such a lens both bigger and more expensive than the 24-90, so what's the story? A careful examination of the lens body gives a clue: "Made in Japan" (all the other SL lenses are "Made in Germany"). Leica have had successful collaborations for many of their products over the years, more recently with the D-Lux and V-Lux cameras. Lens collaborations with Konica, Minolta, Kyocera, Zeiss, Schneider and Sigma have all resulted in fine lenses over the years, sometimes at more 'sensible' prices than Leica originals. In this article I'm going to look at the new lens with relation to the existing 24-90 zoom in the hope that it will help photographers make a reasoned decision about which they should buy, or whether they might need both. For more sample images you can read the article here: https://www.slack.co.uk/leica-24-70-vario-elmarit.html Design The new lens has an all metal construction and looks exactly like the other members of the Leica SL zoom range, it has an 82mm front element (as do all the other zooms). It is weather-sealed and has a beautiful metal petal shaped lens hood (slightly ironic that the other Leica zooms have plastic lens hoods!). The lens hood actually works well on the 24-90 without causing vignetting. The lens is manufactured in accordance with Leica tolerances and QA requirements. It also focuses extremely close; as is often the case it focuses closer at wide angle. More unusually the reproduction ratio is greater at the wide angle end: 1:2.9 at 24mm and 1:4.5 at 70mm. In contrast the 24-90 is 1:7.2 at 24mm and 1:3.8 at 90mm. The Leica Vario Elmarit does not have buttons for AF/MF focus lock and zoom lock, however the manual focus over-ride works really well on the SL cameras and in my view makes the buttons redundant; by touching the manual focus ring you can invoke manual focus or focus lock at any time. I guess it might be more of an omission if the lens was used on another brand of L mount camera. The lens does not have Image Stabilisation - which might be a disappointment using it on the SL, but as the newer models have IBIS it doesn't feel like a problem. It would inevitably have been larger and heavier if it did have it. Another slight irritation is that the zoom ring works the other way round compared to the rest of the Leica zoom lenses. Constant Aperture vs Variable Aperture A Constant Aperture Zoom lens is one (like this Leica 24-70 f2.8) where the aperture does not change as you increase the focal length. A Variable Aperture zoom is one where it does change (like the Leica 24-90 f2.8-f4). Traditionally variable aperture zoom lenses were cheaper and smaller than constant aperture lenses, However Peter Karbe once explained to me that in designing a zoom lens you either had a variable aperture or you were forced to 'throw away' the opportunity of a larger aperture at the wider end. He felt this was a waste, and I'm inclined to agree. Certainly there is nothing 'cheap' (or small) about the design of the 24-90, Leica made the best lens they possibly could, but decided not to make it a constant f4 (which of course it could be). There are various reasons why constant aperture lenses are considered to be advantageous, some of these are better than others! Definitely there is a snobbery amongst some photographers, probably fuelled by the fact that the most expensive zoom lens from any manufacturer is usually of constant aperture. For Video you certainly don't want the exposure to change when you zoom in or out. So this lens will be a welcome addition for video photographers who would have had to limit themselves to an aperture of F4 or smaller when shooting with the 24-90. Stills photographers, many of whom shoot with manual settings would also say that they need a constant aperture, but it seems to me that this is a problem from the days of film, where the ISO value was fixed (and the low light performance pretty poor). These days if you want to shoot with manual exposure in low light - for example a concert when you want to set the slowest sensible shutter speed and a suitable aperture, then you can use the Auto ISO feature to ensure the correct exposure, and, unlike video, it doesn't matter if this changes when you zoom in and out (and of course it will be advantageous to have the widest aperture possible available). Image Quality The image quality with the 24-70 Vario Elmarit is quite excellent. The lens is sharp at all apertures and focal lengths. Like all zooms there is a little fall off towards the corners, but it's never serious. Being so good wide open, there isn't a great deal of benefit to be had by stopping down. Like many mid range zooms sharpness drops a little at the telephoto end. I've done detailed comparisons between the new 24-70 and the older 24-90 . I shot a series of images at 24, 35, 50, 70mm and f2.8 (or the largest aperture available in the case of the 24-90), f5.6 and f8. One setup was a brick wall at about 3 metres, and the other a poplar tree at about 40 metres. Chromatic Aberration Both lenses are admirable in this context - even tree branches against a grey background seem to be okay - I think it's a draw Colour Shooting daylight white balance (in the daylight) I think that the 24-70 has a very slight yellowness compared to the excellent colour on the 24-90 - nothing in it again. Flare I spend a lot of time shooting into the sun, and both of these lenses perform admirably in very difficult lighting. Bokeh It's very difficult to make any real judgements here, but my instinct is that the bokeh on the 24-90 is a little more 'nervous' than the 24-70. Resolution / Sharpness I was really expecting the 24-90 to be sharper right down the line, but it is very nuanced and the difference quite small (as you might expect by looking at their respective MTF charts). Both lenses performed extremely well at all focal lengths. I've come to the conclusion that the 24-90 is slightly better, especially at longer focal lengths, but it's a very close call.: At 24mm the 24-70 is sharper at the corners and the 24-90 sharper at the centre, by 35 mm the 24-90 is slightly sharper at the corners, it's a dead heat at centre. By 50mm the 24-90 is a little better and by 70mm it is noticeably better if you really look. The 24-90 is still excellent at 90mm at all apertures. It should be emphasised that both lenses are extremely good at all focal lengths and apertures, and I think it's vanishingly unlikely that these small differences would make the difference between a good shot and a failure. Which should I buy? The big question! In terms of image quality the difference is small enough not to matter, but I suppose that shooting landscape I would probably prefer to use the 24-90, partly because of the longer range and partly because of the sharper corners. If you are contemplating buying into the Leica SL system then I really think that the new kits with either the SL2 or SL2-S are a 'no-brainer', and if you plan to shoot a lot of video, especially in low light, then the 24-70 with it's constant aperture is a definite attraction. For event shooting, weddings and concerts, I think I'd still use the 24-90 for it's longer range, but there is a real argument for using the new, lighter lens if you are going to have to carry it about all day! Conclusion The new lens certainly feels and operates just like any of the other SL lenses, the only real distinction is the "Made in Japan" engraved on the body. Most SL users would prefer to have a Leica lens, and if Leica can achieve it this way I hope that they do more collaborations in the future. The L mount is really gathering momentum, but there are lots of users who would like Leica telephotos and extreme wide angle, and this is a great way to achieve it. the 24-70 Vario Elmarit is a fine lens and a welcome addition to the stable of SL zoom lenses, the image quality is really good, it has lovely bokeh and is great for close up. The build quality is just what one expects from Leica and the lens handles very nicely on any of the SL cameras. The lens is compact and relatively lightweight and very well priced, it also has a constant aperture which will be welcome for videographers. What's not to like! ' data-webShareUrl='https://www.l-camera-forum.com/topic/320668-jonos-review-leica-vario-elmarit-sl-24-70-f28-asph/?do=findComment&comment=4195585'>More sharing options...
Advertisement Posted May 6, 2021 Posted May 6, 2021 Hi jonoslack, Take a look here Jono's Review: Leica Vario Elmarit SL 24-70 f2.8 ASPH. I'm sure you'll find what you were looking for!
Jeff S Posted May 6, 2021 Share #2 Posted May 6, 2021 Thanks, Jono. I assume that, like the 24-90, it telescopes when zooming rather than internally. It’s the one thing I don’t like with the 24-90 compared to the 90-280, which also seems the best optically IMO, but huge. Trade offs. Also, can you tell us how it differs from its ‘sister’ L mount zooms? Jeff Quote Link to post Share on other sites More sharing options...
jonoslack Posted May 6, 2021 Author Share #3 Posted May 6, 2021 7 minutes ago, Jeff S said: Thanks, Jono. I assume that, like the 24-90, it telescopes when zooming rather than internally. It’s the one thing I don’t like with the 24-90 compared to the 90-280, which also seems the best optically IMO, but huge. Trade offs. Also, can you tell us how it differs from its ‘sister’ L mount zooms? Jeff Hi There Jeff It does telescope like the 24-90 (it seems to me that most mid range zooms do - and most telephoto lenses don't). The build quality and feel is entirely consistent with the other L mount zooms - with the slight irritation of the zoom ring zooming in the opposite direction! best Jono Quote Link to post Share on other sites More sharing options...
Jeff S Posted May 6, 2021 Share #4 Posted May 6, 2021 (edited) 3 minutes ago, jonoslack said: Hi There Jeff It does telescope like the 24-90 (it seems to me that most mid range zooms do - and most telephoto lenses don't). The build quality and feel is entirely consistent with the other L mount zooms - with the slight irritation of the zoom ring zooming in the opposite direction! best Jono I meant compared to the Sigma. I don’t own the SL 16-35, but I think it also doesn’t telescope when zooming. Jeff Edited May 6, 2021 by Jeff S 1 Quote Link to post Share on other sites More sharing options...
jonoslack Posted May 6, 2021 Author Share #5 Posted May 6, 2021 7 minutes ago, Jeff S said: I meant compared to the Sigma. I don’t own the SL 16-35, but I think it also doesn’t telescope when zooming. Jeff Sorry Jeff I didn't compare it with the Sigma - or the Panasonic, and I can't remember whether the 16-35 telescopes either! Quote Link to post Share on other sites More sharing options...
mike3996 Posted May 6, 2021 Share #6 Posted May 6, 2021 (edited) Maybe I am the one who misses the point but this lens seems like an odd choice. A Japanese-made lens for those who absolutely don't want to buy a perfectly capable Sigma or Panasonic lens for their SL? Leica is the only manufacturer who really owns the variable aperture philosophy. Historically it may have been a sign of cheap lenses and cheap design, and probably from that the impression that "variable aperture means bad image quality", a total falsehood!, conveyed through the new millenium. Leica has been largely alone busting that myth but people just won't believe. Indeed, there can be mild nuisances involved with variable aperture zooms but metering still works just as well as the other mirrorless cameras. The lenses after all communicate their real aperture to the camera bodies these days, not like the film days at all. And if you happen to be a manual meterer like myself, Leica alone offers a wonderful little trick called "floating ISO" that compensates for the stop's difference across the zoom range. Edited May 6, 2021 by mike3996 1 Quote Link to post Share on other sites More sharing options...
RBB Posted May 6, 2021 Share #7 Posted May 6, 2021 Advertisement (gone after registration) Thanks for the excellent review! 1 Quote Link to post Share on other sites More sharing options...
jonoslack Posted May 6, 2021 Author Share #8 Posted May 6, 2021 18 minutes ago, mike3996 said: Maybe I am the one who misses the point but this lens seems like an odd choice. A Japanese-made lens for those who absolutely don't want to buy a perfectly capable Sigma or Panasonic lens for their SL? Leica is the only manufacturer who really owns the variable aperture philosophy. Historically it may have been a sign of cheap lenses and cheap design, and probably from that the impression that "variable aperture means bad image quality", a total falsehood!, conveyed through the new millenium. Leica has been largely alone busting that myth but people just won't believe. Indeed, there can be mild nuisances involved with variable aperture zooms but metering still works just as well as the other mirrorless cameras. The lenses after all communicate their real aperture to the camera bodies these days, not like the film days at all. And if you happen to be a manual meterer like myself, Leica alone offers a wonderful little trick called "floating ISO" that compensates for the stop's difference across the zoom range. Hi Mike I think variable aperture is still an issue for videographers - but I quite agree with you in terms of stills photography - a pre-digital problem (if it was ever one) (and isn't floating ISO brilliant). But I don't think this is a strange choice - first of all it is pandering to those who still really do want constant aperture zooms, but on a larger scale it's testing the water - there really is a need for lots more lenses (telephotos and ultra-wides particularly) for the L system - Sigma and Panasonic are addressing it, but Leica would be hard put to cover all the bases quickly, so why not make some in Japan? All the best 1 Quote Link to post Share on other sites More sharing options...
ajayk Posted May 6, 2021 Share #9 Posted May 6, 2021 It seems to be Panasonic 24-70 l mount that has been rebadged as Leica Quote Link to post Share on other sites More sharing options...
Daniel C.1975 Posted May 6, 2021 Share #10 Posted May 6, 2021 vor 5 Minuten schrieb ajayk: It seems to be Panasonic 24-70 l mount that has been rebadged as Leica Nope, it is the Sigma 24-70 Art which has been rebadged. The Panasonic would have the zoom turning into the right direction. The Sigma is a great lens, but I kind of struggle to pay much more for the Leica mainly for cosmetics. I am curious to see comparisons between the Sigma and the Leica, if there is some secret sauce in the Leica. From a pure aesthetic point of view, the Leica looks quite nice. @Jono: Thanks for your as always great and thorough review 9 3 Quote Link to post Share on other sites More sharing options...
Daniel C.1975 Posted May 6, 2021 Share #11 Posted May 6, 2021 Just checked: Price in Germany in a Leica Boutique is 2.250 Euro incl. VAT - that is still quite reasonable. The juice will lay in comparisons with the Panasonic and the Sigma - overall (handling, build etc. pp.), not only optically. 2 Quote Link to post Share on other sites More sharing options...
Jeff S Posted May 6, 2021 Share #12 Posted May 6, 2021 1 hour ago, jonoslack said: ...and I can't remember whether the 16-35 telescopes either! I checked...It does not, just like the 90-280. Only the 24-90 from the original trio telescopes, which makes it bigger, less balanced, and probably not quite as robust in terms of weather sealing. I’d pay more for the more elegant design of the other two. Jeff 1 Quote Link to post Share on other sites More sharing options...
rsh Posted May 6, 2021 Share #13 Posted May 6, 2021 Leica has made a sound decision on releasing this lens. I recently purchased an SL2-S and a 24-90 and I would make the same decision again as i like the longer zoom range. That said, I would love to purchase a 24-70 hood to put on the 24-90 if they are ever available as replacements. 3 Quote Link to post Share on other sites More sharing options...
jonoslack Posted May 6, 2021 Author Share #14 Posted May 6, 2021 6 minutes ago, rsh said: Leica has made a sound decision on releasing this lens. I recently purchased an SL2-S and a 24-90 and I would make the same decision again as i like the longer zoom range. That said, I would love to purchase a 24-70 hood to put on the 24-90 if they are ever available as replacements. I was thinking that as well! Quote Link to post Share on other sites More sharing options...
IkarusJohn Posted May 6, 2021 Share #15 Posted May 6, 2021 13 minutes ago, jonoslack said: I was thinking that as well! Snap! 1 Quote Link to post Share on other sites More sharing options...
SJH Posted May 6, 2021 Share #16 Posted May 6, 2021 Thanks you again Jono for another excellent review. I can't help but think that this reviews shows in many ways how close the Japanese manufactures have got with the top of the line lenses v Leica; as a re-badged Sigma it sort of showed how close this lens is to the 24-90, however, I still prefer the Leica 24-90 to the Sigma but the one thing that did catch my eye is the lens hood which I might well buy if possible. Sort of ironic really!!! If I were buying my SL2 and SL2-S again today though I'd certainly buy the kit and in that form it's a very attractive price for a Leica body and lens. 1 Quote Link to post Share on other sites More sharing options...
LesF Posted May 6, 2021 Share #17 Posted May 6, 2021 Enjoyed the review, I think the price point for this lens is good ok specially when you look at other manufacturers ie Canon RF & Nikon Z mounts are similar price points plus the bundle price of a SL2 - SL2 S (24-70) is also good bit of course not if you already own either of these bodies lol. My fingers are crossed they bring out a 70-200 F2.8 and or F4 Made in Japan 1 Quote Link to post Share on other sites More sharing options...
LocalHero1953 Posted May 6, 2021 Share #18 Posted May 6, 2021 (edited) The 24-90 hood was great when you could lay your SL sideways on a table, released from your hand strap, balanced exactly on the hood and camera. Now that the strap lugs protrude on the SL2 you wouldn't do that on your best french polished table. Edited May 6, 2021 by LocalHero1953 3 Quote Link to post Share on other sites More sharing options...
Jeff S Posted May 6, 2021 Share #19 Posted May 6, 2021 42 minutes ago, rsh said: That said, I would love to purchase a 24-70 hood to put on the 24-90 if they are ever available as replacements. The cheaper plastic one is already $200. 😳 Mine generally stays home or in the bag, except in the rain. Jeff 1 Quote Link to post Share on other sites More sharing options...
davidmknoble Posted May 6, 2021 Share #20 Posted May 6, 2021 Thanks Jono for spending the time to do this! D. 2 Quote Link to post Share on other sites More sharing options...
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