In praise of the SL2

[pgh]

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44 minutes ago, Jeff S said:

+1

Although the soon to be released X2D2 will provide similar temptation, especially with the companion 35-100 f/2.8-4 zoom, and likely a much lower price point.

This is different for everyone, but I grossly underestimated just how much of a pain it is to implement .fff or .3fr files into a workflow. I've shot Hasselblad digital alongside Leica for 5 years now, but I can't say I've ever gotten on with the back end facet of the practice. I'm fluent in and have used LR since it was first released by Adobe, but have come to greatly prefer using Capture One. Hasselblad's Phocus works well enough, in some ways better than either, but it works differently and is lacking in file organization tools. Because of this editing is a pain and it's enough to where it's a significant disincentive to using the camera. It's a brilliant camera that makes wonderful files. Realizing them, when you're used to DNG's and Capture One, is really just too much trouble. And using LR for Hasselblad's files just doesn't give you quite the same color magic that is part of the appeal of buying the camera. In my library anything shot on the Hassy essentially has to be a totally separate entity. 

Despite the added additional cost and the likelihood of the Hasselblad X2D2 being better in just about every respect than whatever the S4 may or may not be, it will be a hard sell for me because of this. That and, as a camera, the X2d is already so good, so much better than whatever I could imagine, it's so close to perfect it's sort of...boring. It's sort of amazing how well it all works together, I probably have less "misses" with that camera than anything else I've ever owned, all in 100 mp perfectly rendered glory. 

[Jeff S]

2 minutes ago, pgh said:

This is different for everyone, but I grossly underestimated just how much of a pain it is to implement .fff or .3fr files into a workflow. I've shot Hasselblad digital alongside Leica for 5 years now, but I can't say I've ever gotten on with the back end facet of the practice. I'm fluent in and have used LR since it was first released by Adobe, but have come to greatly prefer using Capture One. Hasselblad's Phocus works well enough, in some ways better than either, but it works differently and is lacking in file organization tools. Because of this editing is a pain and it's enough to where it's a significant disincentive to using the camera. It's a brilliant camera that makes wonderful files. Realizing them, when you're used to DNG's and Capture One, is really just too much trouble. And using LR for Hasselblad's files just doesn't give you quite the same color magic that is part of the appeal of buying the camera. In my library anything shot on the Hassy essentially has to be a totally separate entity. 

Despite the added additional cost and the likelihood of the Hasselblad X2D2 being better in just about every respect than whatever the S4 may or may not be, it will be a hard sell for me because of this. That and, as a camera, the X2d is already so good, so much better than whatever I could imagine, it's so close to perfect it's sort of...boring. It's sort of amazing how well it all works together, I probably have less "misses" with that camera than anything else I've ever owned, all in 100 mp perfectly rendered glory. 

Having demo-ed the X1D, I would stick with LR and demo/rent the new body before committing.  I’m confident that my workflow would translate to nice prints, even without Phocus, as myriad other variables are involved, but trying is the only way to know.  

The addition of a joystick would alone steer me to the new body rather than the X2D; better AF would be a bonus.

Having said that, there are many potential benefits by staying within the Leica ecosystem after all these years.  Meanwhile, the SL2 provides superb results (along with the M10M/R), so that may end up being sufficient for me.

[pgh]

1 hour ago, Jeff S said:

Having demo-ed the X1D, I would stick with LR and demo/rent the new body before committing.  I’m confident that my workflow would translate to nice prints, even without Phocus, as myriad other variables are involved, but trying is the only way to know.  

The addition of a joystick would alone steer me to the new body rather than the X2D; better AF would be a bonus.

Having said that, there are many potential benefits by staying within the Leica ecosystem after all these years.  Meanwhile, the SL2 provides superb results (along with the M10M/R), so that may end up being sufficient for me.

Getting nice prints isn’t a problem at all - not even from LR. (Though I am a believer that the Phocus or HNCS magic really is a little bit there, and it’s in the prints. But, it’s just the management of all of it - jobs, ongoing projects, consistent color between cameras. But I say this as someone who only uses LR grudgingly now. In part because I feel C1 does so much better with M10 and SL2 files which are my bread and butter.

There are things you can do to make using the X2D easier in post, and the blessing with this camera is that you really don’t need to do much, but if you shoot regularly enough to need good file organizing to help you get through your day, I find it complicates things. I’m not about to sell it yet for this reason, but a camera that plays nicer on the backend and has something close to X2D quality would be tempting. (I wish I liked the Fuji’s a bit more in hand) I mean, Photo Mechanic doesn’t even deal with the Hassy files either. That alone is such a headache. 

Edited August 24 by pgh

[Jeff S]

47 minutes ago, pgh said:

Getting nice prints isn’t a problem at all - not even from LR. (Though I am a believer that the Phocus or HNCS magic really is a little bit there, and it’s in the prints. But, it’s just the management of all of it - jobs, ongoing projects, consistent color between cameras. But I say this as someone who only uses LR grudgingly now. In part because I feel C1 does so much better with M10 and SL2 files which are my bread and butter.

There are things you can do to make using the X2D easier in post, and the blessing with this camera is that you really don’t need to do much, but if you shoot regularly enough to need good file organizing to help you get through your day, I find it complicates things. I’m not about to sell it yet for this reason, but a camera that plays nicer on the backend and has something close to X2D quality would be tempting. (I wish I liked the Fuji’s a bit more in hand) I mean, Photo Mechanic doesn’t even deal with the Hassy files either. That alone is such a headache. 

I use LR, in combination with ImagePrint, for all my editing and print needs, including the SL2, M10M (and occasionally M9M), and M10-R.  No problems whatsoever. As always, personal preferences.

[Archiver]

7 hours ago, chris_tribble said:

Good to hear.  Having the two matched bodies is essential for my kind of work - and a further disincentive against “upgrading”.
As things stand, I only have the one M10R now - and it gets little use these days as the Q3 43 has become the travel / trekking companion of choice these days.  However - with all this new fancy kit it’s interesting to look back at what I was doing with a couple of M9s + 28 cron asph and 50 lux asph. It’s a bit off topic, but it’s good to remember what we could do with our obsolete cameras!  Some examples from a documentation of a production of Trainspotting  

https://www.ctribble.co.uk/galleries/THEATRE/KH_Trainspotting/index.html 

I've been using my M9 for 15 years: it has accompanied me around Australia and overseas, and helped me document athletes in two cycles of Olympics and Commonwealth Games, among other things. This year, I bought a SL2S with the intention of moving that into the M9's role, giving the M9 a rest, and my work a boost from the overall image quality and performance. The funny and fortunate thing is that I can now pick up my old Canon DSLR's and shoot much more competently than when I originally used them.

[panoreserve]

In 2019, I was one of the first people in Germany to receive their SL2. (I've since given my SL1 to my eldest son, who is currently studying photography at the Folkwang University of the Arts in Essen.) I started with SL Varios and a few M lenses, and for about three years now, I've only used the Apo Summicron 28/35/50/90 lenses. I'm so satisfied with the SL2 that I never considered switching to the SL3. Actually, I only have one real criticism: the SL2 is prone to the "shutter shock" effect within a defined shutter speed range; the resulting slight blur is very annoying and has led me to work almost exclusively with the electronic shutter for years. Now the focus is perfect, but of course, the electronic shutter has its own, well-known limitations... - However, since the SL3 is also affected by "shutter shock," and the readout speed of the electronic shutter on the SL3 is significantly slower than on the SL2, this was one more reason to stick with the SL2. - All the best and always "gut' Licht"!

Edited August 25 by panoreserve

[chris_tribble]

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1 hour ago, panoreserve said:

Actually, I only have one real criticism: the SL2 is prone to the "shutter shock" effect within a defined shutter speed range; the resulting slight blur is very annoying and has led me to work almost exclusively with the electronic shutter for years.

That’s something I’d not really taken into consideration.  Could you maybe expand on / exemplify the issue? In what contexts is the issue must critical?  In my experience the only time I’ve used electronic shutter has been when I needed silence. 

[WvE]

The SL2-s is a beautiful, solid camera; all metal Bauhaus style, great EVF, there is nothing like it. However, for me, it's time to say goodbye. I somehow never really bonded with it. Initially, I used it with the 24-70 vario-elmarit, but that combo was way too heavy. I also used the AF 50mm Summicron and Panasonic 20-60, but it didn't do it for me either. I also used it with my M-lenses, which always felt somewhat awkward, because what's the point of having an AF camera then? I'm kind of sad to let it go, but my M11 is the better camera for me.   

[panoreserve]

vor 1 Stunde schrieb chris_tribble:

That’s something I’d not really taken into consideration.  Could you maybe expand on / exemplify the issue? In what contexts is the issue must critical?  In my experience the only time I’ve used electronic shutter has been when I needed silence. 

It's the phenomenon of interference between the activated IBIS and the mechanical shutter, which leads to a blurring effect at certain shutter speeds (in my case, approximately 1/100-1/200 sec) and possibly also certain focal lengths (75mm and up?). This isn't really "camera shake" or "blur," but rather the images appear "swirled" when enlarged. This strange interference effect disappears with longer or shorter shutter speeds OR when IBIS is deactivated OR the electronic shutter is activated. This phenomenon has been documented many times, including here in the forum (please use the search function). I've attached a screenshot of an example from another user. One solution to the problem would be to implement EFCS, but unfortunately, Leica is stubborn in this regard, unlike other manufacturers...

The SL1—since it doesn't have IBIS—has no problems in this regard. Since I don't want to be without the IBIS at all, I've been choosing the electronic shutter since summer 2020 and fortunately, I rarely encounter situations where it causes problems...

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[Archiver]

50 minutes ago, WvE said:

The SL2-s is a beautiful, solid camera; all metal Bauhaus style, great EVF, there is nothing like it. However, for me, it's time to say goodbye. I somehow never really bonded with it. Initially, I used it with the 24-70 vario-elmarit, but that combo was way too heavy. I also used the AF 50mm Summicron and Panasonic 20-60, but it didn't do it for me either. I also used it with my M-lenses, which always felt somewhat awkward, because what's the point of having an AF camera then? I'm kind of sad to let it go, but my M11 is the better camera for me.   

Have you tried any of the Panasonic f1.8 primes or the Sigma Contemporary lenses? They are much lighter than the Leica APO lenses and 24-70, and offer excellent image quality. My most used lenses on the SL2-S are the Summicron 35mm ASPH (non APO), the Panasonic 50mm f1.8, and the Zeiss Distagon 35 and Summicron M 50 for when I want their unique rendering and don't need autofocus.

[pickerdd]

On 8/23/2025 at 5:46 PM, Stuart Richardson said:

I have been using mine since I bought it used in 2020. I have not had a single problem with it in that time with it being my main professional camera. It has never stopped working or produced unacceptable results for me. Obviously, it is more limited in high ISO than the SL2S or SL3, but it is still eminently usable. It is still the highest resolution camera Leica has ever made, as they have not brought multi-shot to the SL3. I find the color to be very very pleasing, and I love the natural feel of the files and high acutance of the detail. I typically make very high demands out of my gear -- little problems annoy me, I really want things to work perfectly and be seamless. The only digital cameras I have had that feel similarly rock solid in results and performance were the S006, M9 (in file quality at low ISO at least), and the M10M. Even with those cameras, I had little problems here and there. The SL2 has been the first Leica I have ever had for a long period of professional use with literally no faults. I am not sure if it has even ever frozen. Maybe once or twice, but a quick pop out of the battery and it was fine. This is having made tens of thousands of images, mostly out in the cold and wet climate of Iceland. Of all the cameras I have ever had, I think it is the one that is the most trustworthy and consistently high quality. Focus is always spot on, WB is good, the lenses are impeccable and it just does everything right. As an exhibition printer, the files are superb and frankly, at 47mp with APO Summicrons, even 100x150cm prints are tack sharp and leave very little to be desired...multishot pushes the quality even higher.

Because of how incredibly high a bar it has set, I have had no interest in the SL3 (I don't like the changes, especially regarding form factor, power button and display interface). I suspect I will be using the SL2 for years to come. 

Same here. i bought my SL2 new in October 2020 and I use it daily. it has been 100% reliable and produces images i love and the workflow fits my needs 100%. I would love to have better low light capability, but this camera has been 100% reliable, produces great images and i love it. i use it with my 35 and 75mm SL APO lenses and my 50mm M summilux. I struggled with focusing M cameras for several years (I have an astigmatism and focusing is a problem on the RF and I freaking hate the Visoflex). I had a 30-40% success rate with the m-cameras as far as focus. I have about a 90+ rate with the SL2. i don't see upgrading to another camera until this one dies, which i hope is a long time away.

[businessasusual]

I procured mine in Sep 23, and not long before the release of the SL3. I was, at the time, torn between the SL2 and the camera that originally stole my heart - the M and for reasons of knowing my eyesight is certainly not going to improve going forward. That was the first selling point. The second was the appeal of weather proofing. That tipped me over the edge. I coupled it with SL 50mm Summilux. It was heavy. Every time I took it out I returned less than enthused about going out again. I absolutely love the lens but I felt the discomfort over an entire day. It didn’t bother me that pre firmware update, that the focus was not lightening fast. I didn’t need it to be for what I do. (and it’s improved now)  Then I starting missing the inconspicuous appeal of the M. (I started with the M6 TTL, then M9) It niggled at me that I really wanted it back. So M11 happened. I love the EVF on the SL2 - that’s when I decided on the L to M adapter, and because I now had the M Summilux 50mm - something I could likely have done, without buying the M11 body, but I have to say - having an M in my hands is something I just really love. The SL2 with the SL 50mm just screamed “photographer” - something I’ve never been comfortable with, that is why I bought the M6 to begin with. I work best when no one knows I’m there. I added the 28mm Elmarit to the kit. As it now turns out - I have the M 50mm Summilux on the SL2 and the Elmarit on the M (and I swap them from time to time, not frequently, to avoid sensor dust) - with added option of Visoflex. I take both out - they are light with those  lenses on them. The SL2 is less noticeable with the M lens on it and I am really enjoying that combination. It purrs. The EVF really helps with focusing. The SL 50mm is packed away in the cupboard for now. I’m not rushing to part with it, since it has now been discontinued. The images it produces are impressive - I know there will be times I will use it, in short stints - because of the weight. (perhaps landscapes with a tripod) Not at all regretful about buying the SL2 and just missing the chance of the SL3. It’s a keeper.

[jdlaing]

SL-2 works for me for years now. It’s an excellent tool. 

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Edited August 25 by jdlaing

[Filip Baraka]

23 hours ago, pgh said:

This is different for everyone, but I grossly underestimated just how much of a pain it is to implement .fff or .3fr files into a workflow. I've shot Hasselblad digital alongside Leica for 5 years now, but I can't say I've ever gotten on with the back end facet of the practice. I'm fluent in and have used LR since it was first released by Adobe, but have come to greatly prefer using Capture One. Hasselblad's Phocus works well enough, in some ways better than either, but it works differently and is lacking in file organization tools. Because of this editing is a pain and it's enough to where it's a significant disincentive to using the camera. It's a brilliant camera that makes wonderful files. Realizing them, when you're used to DNG's and Capture One, is really just too much trouble. And using LR for Hasselblad's files just doesn't give you quite the same color magic that is part of the appeal of buying the camera. In my library anything shot on the Hassy essentially has to be a totally separate entity. 

I was somewhat intrigued by HB X2D; however, I also love the whole C1 process and editing workflow. A couple of months ago, I played with the HB files and, with some light editing of the EXIF and converting to DNG via Adobe DNG, you can open the resulting file in Capture One. On Mac, I could automate the whole process on import of the card (essentially doubling the file size, as I would like to keep the originals). So it's doable, but probably not worth the hassle. 
 

I have my SL2 a bit more than 20 months now, I used it almost exclusively with 24-90 for a year before I was set for other lenses. Great system

[pgh]

48 minutes ago, Filip Baraka said:

I was somewhat intrigued by HB X2D; however, I also love the whole C1 process and editing workflow. A couple of months ago, I played with the HB files and, with some light editing of the EXIF and converting to DNG via Adobe DNG, you can open the resulting file in Capture One. On Mac, I could automate the whole process on import of the card (essentially doubling the file size, as I would like to keep the originals). So it's doable, but probably not worth the hassle. 
 

I have my SL2 a bit more than 20 months now, I used it almost exclusively with 24-90 for a year before I was set for other lenses. Great system

Yep, absolutely there are workaround - this is one I’ve done too. But as you note. There are costs like doubling files and then with the DNG conversion something is sort of lost in color rendition still versus using Phocus. I feel like a workaround is inevitable with the Hasselblad system, the one I have settled on is using Phocus to process and edit files. Ok, maybe technically not a workaround but sure feels a lot like one! 

[Jeff S]

23 hours ago, pickerdd said:

 I struggled with focusing M cameras for several years (I have an astigmatism and focusing is a problem on the RF and I freaking hate the Visoflex). I had a 30-40% success rate with the m-cameras as far as focus. I have about a 90+ rate with the SL2. 

Do you use glasses to correct for astigmatism?  Simple solution for me (in addition to distance correction and sunlight protection), making both M (RF only) and SL2 viewing/focusing effective and enjoyable.

[jaapv]

And there are eyepieces on the market to correct astigmatism on M cameras.

https://walterleica.com/

[pickerdd]

7 hours ago, Jeff S said:

Do you use glasses to correct for astigmatism?  Simple solution for me (in addition to distance correction and sunlight protection), making both M (RF only) and SL2 viewing/focusing effective and enjoyable.

Yes i do, but i had poor luck with the rangefinders even with my glasses. The SL2 is great because of the diopter and the EVF.  I'm able to focus with the EVF nearly 100%. The rangefinder just didn't work. i'm one of the heathens who would buy an M with a EVF... 😀

[Per P.]

Hi Chris,

Studying your really fine pictures I see no rationale for change  I upgraded from SL601 to the SL2-S last year and even that was not entirely justified - for my uses - but I am super happy I did. It will stay with me for a long time.

I also support your endorsement of the 24-90. From time to time I have considered a 24-70 but reviewing my Lightroom files revealed that more than a third of pictures taken with the 24-90, and not rejected, were made in the interval between 70 and 90 mm. So better keep then 😂

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[Jeff S]

38 minutes ago, pickerdd said:

Yes i do, but i had poor luck with the rangefinders even with my glasses. The SL2 is great because of the diopter and the EVF.  I'm able to focus with the EVF nearly 100%. The rangefinder just didn't work. i'm one of the heathens who would buy an M with a EVF... 😀

With aging eyes, I benefit from use of both glasses and a +.5 diopter on all my M bodies. This was easily confirmed using free trial diopters, with glasses on,  and my M at a local optician, before buying.