Trinity part 3: the Vario-Elmarit-SL 70-200/2.8 ASPH. and Extender L 2.0x - review by Thomas Walter

[MediaFotografie]

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The classic ‘trinity’ of three fast, high-quality and professional zoom lenses from Wetzlar for the SL system was still missing the 70-200/2.8 - which is now available; with 14-24/2.8 and 24-70/2.8, the classic series is now also complete for Leica SL. All three are ‘Made in Japan’ and attractively priced items in the Leica portfolio.

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This lens has also moved away from the previous Leica doctrine and is a zoom with constant speed - even 2.8; in my eyes a very pleasing development, the constant speed is a clear advantage in practice.

The exterior

First the exterior: When handling the new optics for the first time, I was impressed by the handy, compact and comparatively light lens. And in the usual metal design, it has an extremely high-quality appearance that is no different from the APO Vario-Elmarit 90-280 or the APO Summicron SL lenses.

A closer second look was slightly surprising: In contrast to the 90-280, which was introduced in 2016 and felt large and heavy, the difference is not that noticeable: about 20mm in length and 200g in weight. It feels like this is significantly more than the figures indicate.

Unusual for the Leica world, and I'm still not used to it, is the counter-rotating zoom ring compared to the ‘Made-in-Wetzlar’ zoom lenses. But the new 70-200/2.8 has another special feature: the zoom ring is on the outside and the focus adjustment is on the camera. More on this later.

It is an internal zoom and internal focusing: the length of the lens does not change either when focussing or when zooming. This is a very pleasant feature, which is now standard for this class of lens. The filter diameter is 82mm, which is also no surprise.

As you would expect, the SL handgrip is very practical for the new telephoto zoom, an ideally balanced combination overall, but one that weighs a good 3kg.

Autofocus

In practical use with the SL2-S and SL3, the first thing I noticed was the speed of the autofocus, which is really unusually fast. While the Summicron-SL 50mm/2.0 was previously my lens with the fastest AF on the SL3 in my opinion, it is now the new 70-200/2.8.

Image Quality

The new Vario-Elmarit-SL was convincing in every respect:

• Image sharpness right into the corners
• No chromatic aberration observed
• No susceptibility to backlighting

All in all, this new lens is a high-performance lens at the cutting edge.

Comparison with APO-Vario-Elmarit 90-280

I have extensively compared the image quality of the new zoom with my APO-Vario-Elmarit-SL 90-280 with quite surprising results.

With the same focal length and aperture, the following picture emerges for me on the high-resolution sensor of the SL3:

• In the centre of the image, the APO 90-280 has a small advantage over the new 70-200 when both are fully stopped down - i.e. the 70-200 with greater speed at the longer focal lengths;
• Towards the edge the image turns and the 70-200 convinces with better sharpness;
• If both are stopped down moderately to 4, the centre of the image is comparable - while the 70-200 again has the advantage at the edge.

The results are not only recognisable with the high-resolution sensor of the SL3, but also with 24MP sensors.

I didn't make a direct comparison with the Vario-Elmarit 100-400, but I did with the Sigma 150-600 DG DN Sport. Here, the 70-200/2.8 had the advantage when the Sigma was stopped down with an open aperture and the Leica with the same aperture. Of course, these two lenses are only comparable to a very limited extent.

A small detail: the lens clamp

The VE-SL 70-200/2.8 comes with a new lens clamp, which has two significant advantages over that of the 90-280:

• it is significantly more compact (whereby the 90-280 is dimensioned in such a way that an SL with handle and 90-280 with ‘old’ lens clamp are aligned exactly straight)
• It is Arca-Swiss compatible

These are small but very welcome improvements. Important to know: Both clamps are removable - and the connections are compatible, you can simply swap them for each other.

The 100-400 probably has the same ‘new’ clamp as the 70-200 - I just hadn't noticed that before. The light fittings are removable - and the connections are compatible, you can simply swap them over.

Optical image stabilisation

Like the 90-280, the new VE-SL 70-200/2.8 has optical image stabilisation, which also works smoothly with the SL 601.

For me, together with the SL3 - with which I tested it the most - ‘everything as expected’, image stabilisation at the cutting edge. I find it difficult to make a comparison here.

Lens hood

The designers in Wetzlar started the SL system with the rather globular lens hoods already familiar from the S system, with a metal mount to the lens and otherwise plastic, in the wide-angle range in a very characteristic rectangular shape. For some time now, this has changed to more elegant all-metal diaphragms, often in a butterfly shape.

Accordingly, the VE-SL 70-200/2.8 is supplied with a full metal lens hood, round in shape because of the telephoto range. The diaphragm for the 90-280 can of course be used in the same way as the new one for the 90-280; the one for the 90-280 is significantly longer.

What we don't like

Many things about the new Vario-Elmarit-SL are convincing - but one thing is difficult in everyday use: as with the two other ‘Made in Japan’ SL zooms, the direction of rotation of the zoom is in the opposite direction, which I somehow can't get used to.

And there is a second change with the 70-200: The zoom ring is on the outside, with the focus adjustment towards the camera body. This requires constant rethinking, which is simply difficult in everyday use.

The new teleconverter Extender L 2.0x

The new Vario-Elmarit also comes with a new 2x teleconverter - a 1.4x is already available. This turns the lens into a 140-400/5.6. The AF performance is slightly reduced due to the lower speed.

Opinions are divided on optical teleconverters. Especially with the high-resolution sensor of the SL3, cropping is an alternative that also enables the new zoom in terms of sharpness.

Interesting: The new converter - and also the previous 1.4x - can also be used with suitable Sigma lenses (with the latest firmware), I have successfully tested it with the Macro 105mm/2.8 DG DN Art and the Zoom 150-600mm DG DN Sports.

And finally

The new standard telephoto zoom with very good optical quality, handy, continuous aperture 2.8 and extremely fast AF - the new lens is an enrichment in the SL system for a wide range of applications.

[helged]

1 hour ago, MediaFotografie said:

The classic ‘trinity’ of three fast, high-quality and professional zoom lenses from Wetzlar for the SL system was still missing the 70-200/2.8 - which is now available; with 14-24/2.8 and 24-70/2.8, the classic series is now also complete for Leica SL. All three are ‘Made in Japan’ and attractively priced items in the Leica portfolio.

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!

This lens has also moved away from the previous Leica doctrine and is a zoom with constant speed - even 2.8; in my eyes a very pleasing development, the constant speed is a clear advantage in practice.

The exterior

First the exterior: When handling the new optics for the first time, I was impressed by the handy, compact and comparatively light lens. And in the usual metal design, it has an extremely high-quality appearance that is no different from the APO Vario-Elmarit 90-280 or the APO Summicron SL lenses.

A closer second look was slightly surprising: In contrast to the 90-280, which was introduced in 2016 and felt large and heavy, the difference is not that noticeable: about 20mm in length and 200g in weight. It feels like this is significantly more than the figures indicate.

Unusual for the Leica world, and I'm still not used to it, is the counter-rotating zoom ring compared to the ‘Made-in-Wetzlar’ zoom lenses. But the new 70-200/2.8 has another special feature: the zoom ring is on the outside and the focus adjustment is on the camera. More on this later.

It is an internal zoom and internal focusing: the length of the lens does not change either when focussing or when zooming. This is a very pleasant feature, which is now standard for this class of lens. The filter diameter is 82mm, which is also no surprise.

As you would expect, the SL handgrip is very practical for the new telephoto zoom, an ideally balanced combination overall, but one that weighs a good 3kg.

Autofocus

In practical use with the SL2-S and SL3, the first thing I noticed was the speed of the autofocus, which is really unusually fast. While the Summicron-SL 50mm/2.0 was previously my lens with the fastest AF on the SL3 in my opinion, it is now the new 70-200/2.8.

Image Quality

The new Vario-Elmarit-SL was convincing in every respect:

• Image sharpness right into the corners
• No chromatic aberration observed
• No susceptibility to backlighting

All in all, this new lens is a high-performance lens at the cutting edge.

Comparison with APO-Vario-Elmarit 90-280

I have extensively compared the image quality of the new zoom with my APO-Vario-Elmarit-SL 90-280 with quite surprising results.

With the same focal length and aperture, the following picture emerges for me on the high-resolution sensor of the SL3:

• In the centre of the image, the APO 90-280 has a small advantage over the new 70-200 when both are fully stopped down - i.e. the 70-200 with greater speed at the longer focal lengths;
• Towards the edge the image turns and the 70-200 convinces with better sharpness;
• If both are stopped down moderately to 4, the centre of the image is comparable - while the 70-200 again has the advantage at the edge.

The results are not only recognisable with the high-resolution sensor of the SL3, but also with 24MP sensors.

I didn't make a direct comparison with the Vario-Elmarit 100-400, but I did with the Sigma 150-600 DG DN Sport. Here, the 70-200/2.8 had the advantage when the Sigma was stopped down with an open aperture and the Leica with the same aperture. Of course, these two lenses are only comparable to a very limited extent.

A small detail: the lens clamp

The VE-SL 70-200/2.8 comes with a new lens clamp, which has two significant advantages over that of the 90-280:

• it is significantly more compact (whereby the 90-280 is dimensioned in such a way that an SL with handle and 90-280 with ‘old’ lens clamp are aligned exactly straight)
• It is Arca-Swiss compatible

These are small but very welcome improvements. Important to know: Both clamps are removable - and the connections are compatible, you can simply swap them for each other.

The 100-400 probably has the same ‘new’ clamp as the 70-200 - I just hadn't noticed that before. The light fittings are removable - and the connections are compatible, you can simply swap them over.

Optical image stabilisation

Like the 90-280, the new VE-SL 70-200/2.8 has optical image stabilisation, which also works smoothly with the SL 601.

For me, together with the SL3 - with which I tested it the most - ‘everything as expected’, image stabilisation at the cutting edge. I find it difficult to make a comparison here.

Lens hood

The designers in Wetzlar started the SL system with the rather globular lens hoods already familiar from the S system, with a metal mount to the lens and otherwise plastic, in the wide-angle range in a very characteristic rectangular shape. For some time now, this has changed to more elegant all-metal diaphragms, often in a butterfly shape.

Accordingly, the VE-SL 70-200/2.8 is supplied with a full metal lens hood, round in shape because of the telephoto range. The diaphragm for the 90-280 can of course be used in the same way as the new one for the 90-280; the one for the 90-280 is significantly longer.

What we don't like

Many things about the new Vario-Elmarit-SL are convincing - but one thing is difficult in everyday use: as with the two other ‘Made in Japan’ SL zooms, the direction of rotation of the zoom is in the opposite direction, which I somehow can't get used to.

And there is a second change with the 70-200: The zoom ring is on the outside, with the focus adjustment towards the camera body. This requires constant rethinking, which is simply difficult in everyday use.

The new teleconverter Extender L 2.0x

The new Vario-Elmarit also comes with a new 2x teleconverter - a 1.4x is already available. This turns the lens into a 140-400/5.6. The AF performance is slightly reduced due to the lower speed.

Opinions are divided on optical teleconverters. Especially with the high-resolution sensor of the SL3, cropping is an alternative that also enables the new zoom in terms of sharpness.

Interesting: The new converter - and also the previous 1.4x - can also be used with suitable Sigma lenses (with the latest firmware), I have successfully tested it with the Macro 105mm/2.8 DG DN Art and the Zoom 150-600mm DG DN Sports.

And finally

The new standard telephoto zoom with very good optical quality, handy, continuous aperture 2.8 and extremely fast AF - the new lens is an enrichment in the SL system for a wide range of applications.

Thanks! Similar to the Sigma?

[MediaFotografie]

vor 42 Minuten schrieb helged:

Thanks! Similar to the Sigma?

I haven't use the Sigma - but I think they will be very similar in optical performance; I like the build quality of the Leica lens much more

[FlashGordonPhotography]

If you haven't used the Sigma, how do you know you prefer the Leica?

The Sigma is an Art lens so there's no real difference in weather sealing build quality etc. Just different materials. Same with the 14-24. Unlike the 100-400 where the Sigma has a lesser build and weatherproofing because it's a contemporary line lens.

Gordon

[MediaFotografie]

vor 11 Stunden schrieb FlashGordonPhotography:

If you haven't used the Sigma, how do you know you prefer the Leica?

The Sigma is an Art lens so there's no real difference in weather sealing build quality etc. Just different materials. Same with the 14-24. Unlike the 100-400 where the Sigma has a lesser build and weatherproofing because it's a contemporary line lens.

the Sigma 70-200/2.8 isn't an Art lens, it is Sports - which is also fine; I didn't use the Sigma, but knowing the mechanics very well, also using many other Sigma lenses, Art, Sports, i-Series;

I prefere the clean and straight design of all SL lenses, metal housing, metal hood, detachable lens clamp; I don't likle the buttons on this and other Sigma lenses, which can't be used with all SL bodies.

Sigma is lighter and has aperture ring if you want.

So it's good we have the choice!

[huwm]

1 hour ago, MediaFotografie said:

I prefere the clean and straight design of all SL lenses, metal housing, metal hood, detachable lens clamp; I don't likle the buttons on this and other Sigma lenses, which can't be used with all SL bodies

Me too, have owned sigma zooms and primes contemporary and art and have migrated to SL and Pan/Lumix equivalents 

[hdmesa]

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On 9/5/2024 at 7:32 PM, FlashGordonPhotography said:

If you haven't used the Sigma, how do you know you prefer the Leica?

The Sigma is an Art lens so there's no real difference in weather sealing build quality etc. Just different materials. Same with the 14-24. Unlike the 100-400 where the Sigma has a lesser build and weatherproofing because it's a contemporary line lens.

Gordon

It could be true that weather sealing between them is equal, but I believe the hesitation to trust the Sigma as much as the Leica is because Sigma only claims it is dust and splash proof. Does Leica offer the IP ratings on their SL lenses? If so, that could be a hint at a difference. On the other hand, it could be that due to the higher price of the Leica, it affords them the opportunity to pay for IP testing.

On 9/6/2024 at 6:40 AM, MediaFotografie said:

the Sigma 70-200/2.8 isn't an Art lens, it is Sports - which is also fine; I didn't use the Sigma, but knowing the mechanics very well, also using many other Sigma lenses, Art, Sports, i-Series;

I prefere the clean and straight design of all SL lenses, metal housing, metal hood, detachable lens clamp; I don't likle the buttons on this and other Sigma lenses, which can't be used with all SL bodies.

Sigma is lighter and has aperture ring if you want.

So it's good we have the choice!

And weather sealing, durability, and build quality based on owning all three types (IMO) would be Sports > Art > Contemporary. 

Edited September 7, 2024 by hdmesa