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Jono's Review: Leica Vario Elmarit SL 24-70 f2.8 ASPH


jonoslack

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@jonoslack

Interesting, I compared the MTF graph and the lens elements to the Leica R 35-70 f/2.8 zoom lens that become such a cult lens.  The MTF is similar and not terribly different.  The lens design is, but I wonder if that zoom had any bearing on how this one was created?

I still enjoy the Leica R 28-90 ASPH on the Leica SL2, not weather sealed, but easy to hold.

D.

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2 hours ago, jonoslack said:

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

I agree with Jonathan.

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Waiting for comparison between the Sigma and Leica versions.  The similarity makes the rebranding suggestion hard to deny.  Higher quality control and calibration could certainly justify Leica premium, as long as we are are not paying double for different engraving.

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vor 8 Stunden schrieb davidmknoble:

@jonoslack

Interesting, I compared the MTF graph and the lens elements to the Leica R 35-70 f/2.8 zoom lens that become such a cult lens.  The MTF is similar and not terribly different.  The lens design is, but I wonder if that zoom had any bearing on how this one was created?

I still enjoy the Leica R 28-90 ASPH on the Leica SL2, not weather sealed, but easy to hold.

D.

+1  

The R 28-90 ASPH is a great lens, convenient to use, length does not change much, minimum @50 mm, gets longer both towards 90 mm and 28 mm.

- Matti

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13 hours ago, Jeff S said:

The cheaper plastic one is already $200.  😳  Mine generally stays home or in the bag, except in the rain. 

Jeff

The opposite for me.. The hood lets me put the camera face down.. I never used it without the hood.. 

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17 hours ago, jonoslack said:

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.

Well written, competent and thought-out review. You certainly know how to take excellent photographs (which most reviewers on YouTube don't). Great work, thanks!

But I disagree with your quote above. Cinema zooms in the past, and even today do ramp, some visibly, some only a tad, meaning that pictures get darker when zooming to the lens' long end. Cinematographers know their trade and compensate for that accordingly by closing the aperture. But one thing you cannot compensate for: keeping the focus while zooming.

A cinema zoom that isn't parfocal and doesn't keep the focus throughout the range (every lens has some dents in the focus curve at specific focal lengths. That's why you put them on a projector to know them) isn't considered to be a proper cinema zoom. The 24-90 I happen to own, and I use for filmmaking, isn't parfocal, and I don't expect the 24-70 to be either. This means that zooming in and out while filming doesn't work correctly with regular stills lenses, and we just don't do it. Thus, a fixed f stop isn't required for video.

In the end, the fixed aperture is a marketing tool. The market's fixation on a fixed aperture with "pro" zooms makes the wide end unnecessary slow and the long end ramp a bit. It's somewhat telling that Leica is going down that route with their new 24-70. But anyone who wants the best "standard" zoom on the market for the L-mount can purchase the 24-90. But I'm sure its sales will go down rapidly. 

Interesting developments, and with the advent of the SL2-S somewhat inevitable.

Edited by hansvons
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