The Leica SL2-S is a 35mm full-frame mirrorless camera designed to appeal to both stills photographers and videographers.
It features a 24.6 megapixel full-frame (24x36mm) BSI CMOS sensor with no optical low pass filter, the latest Leica Maestro III series processor and unlimited DCI and UHD 4K/60p 10-bit 4:2:2 video recording.
There’s also an electronic viewfinder with a resolution of 5.76 megapixels, 120fps refresh rate and 0.78x magnification, and a 3.2-inch LCD screen with 2.1 megapixels and touchscreen control.
The SL2S additionally offers a IPS4-rated weather-sealed magnesium-alloy construction, in-body image stabilisation worth 5.5 stops of compensation, a continuous shooting rate of up to 25fps using the electronic shutter, a 96 megapixel multi-shot mode, built-in wi-fi, NFC and GPS connectivity, a highest ISO setting of 100,000 and dual UHS-II SD memory card slots.
The Leica SL2-S is available now priced at £3,975 / $4,895 body only in the UK and US respectively.
Ease of Use
Just over a year ago we reviewed the Leica SL2, a 47 megapixel beast of a camera that majored on out-and-out resolution.
Now the SL2S has arrived for testing, the main change in this model being a big drop in resolution to 24 megapixels, but an accompanying increase in shooting speed and low-light performance.
Leica claims that the “SL2-S is the perfect choice for customers who favour fast operation over the exceptionally high resolution of the Leica SL2” and after using one for a few weeks, we’d be inclined to agree.
Commendably the cheaper SLS-2 is virtually identical to its high-resolution bigger brother, with the exception of the image sensor that it uses, so anyone moving from one camera to the other will feel instantly at home.
The 24.6 megapixel full-frame (24x36mm) BSI CMOS sensor is the main reason for choosing the SL2S in preference to the 47 megapixel SL2.
You may only get roughly half the resolution, but in return the maximum burst shooting speed for both JPEGs and DNG Raw files is increased from 20fps on the SL2 to 25fps on the SL2-S when using the electronic shutter and up to 9 frames per second using the mechanical shutter (the same rate as the SL2).
Furthermore, the continuous shooting buffer has been even more improved. The SL2 would fill its buffer after 78 DNG shots, giving you 4 seconds of shooting, but the SL2-S can take a virtually unlimited burst of full-resolution still images until its 4GB buffer is filled.
Note that on both cameras, though, the AF point and exposure are locked at the first frame, which is rather disappointing when some similarly priced mirrorless cameras can shoot at similar speed with AF/AE. To get continuous focus and exposure, you’ll need to drop down to 6fps.
The second benefit of the more modest 24 megapixel sensor is improved low-light performance. As well as increasing the ISO range by one-stop to ISO 100,000 with the same base setting of ISO 50, the SL2-S’s back side illuminated (BSI) sensor produces less noise at equivalent ISO settings – if low-light shooting is more important to you than sheer resolution, choose the SL2-S rather than the SL2.
Whilst the SL2’s 187 megapixel multishot mode is undoubtedly a great feature for detail-hungry still-life and landscape photographers, the Leica SL2-S can still create a very respectable 96 megapixel image using by combining 8 separate shots, producing a final image equivalent to 12000 x 8000 pixels.
The new sensor also allows the SLS2 to offer improved video recording capabilities compared to the SL2. It offers oversampled 4K/30p 10-bit 4:2:2 quality footage recorded either internally or to an external recorder, with no time limits on the recording time.
In contrast, the SLS-2 shoots sub-sampled video for all of its video modes, which gives the SL2-S a slight edge in the quality department, at least when shooting in 24, 25 and 30p modes.
The SLS-2 can also record in 4K/60p, but it can only do so by using an APS-C crop of the sensor, rather than the full-frame, and only 8-bit 4:2:0 internally, with 10-bit 4:2:2 only available to an external recorder.
Finally on the video front, Leica are planning a firmware update in spring 2021 which will add a swathe of new features to the SL2S, including internal 4K recording with 10 Bit at 60p/50p with the more efficient HEVC h.265 codec, Long-GOP support, automatic follow focus,wave form monitor, colour bar, tally mode and more.
The new firmware will also add a new Autofocus algorithm with improved eye/face/head/body recognition and focus tracking, an important upgrade given that the SL2-S’s contrast based AF system with depth mapping, which in practice isn’t the best.
Indeed, it strongly reminds us of Panasonic’s Depth-from-Defocus system on their L-Mount S-range of cameras, which somewhat suspiciously also underwent a recent firmware upgrade to improve its autofocusing speed.
As it stands, the SL2-S’s autofocusing is fast enough in good light, but struggles in low light, just like Panasonic’s used to do – at least there’s a similar update on the way to help improve what is undoubtedly one of the weaker points of the SL2-S.
The Leica SL2S is another incredibly solid, black-bodied camera, equipped with Leica’s L-mount, thus enabling around 150 different lenses to be utilised if you invest in specific adapters.
It has to be said upfront that the SL2-S is not the most portable option ever. In fact, used in tandem with the Leica APO-Summicron-SL 75mm f/2 ASPH prime lens that Leica UK sent us for review, the SL2S feels like it weighs a ton.
This is partly because it’s been fashioned from two solid pieces of aluminium with a central magnesium alloy portion sandwiched in its midst – so we were very thankful for the padded strap that also came with our review sample.
While the rock-solid build quality is very reassuring, it’s possibly not the ideal travel camera for lugging around for an entire day on a city break, especially with a bag full of L-mount lenses as well.
Given the heft of this camera, it’s perhaps not surprising that the handgrip has been subtly remodeled since the release of the original Leica SL and, the suggestion is, made more comfortable thanks to it being coated in ‘elastomer’ material.
While it isn’t moulded to our fingers like the grip on a DSLR might be, thereby making it easier to balance out the weight if we’ve a big lens on the front, on the SL2-S it’s certainly big enough to wrap our full four fingers around, while the thumb automatically brushes up against the control dial – or as Leica refers to it, ‘click wheel’ – peeking out at the back.
If you’re looking for a shooting mode dial, then you may be somewhat confused, because the SL2-S doesn’t have one. Instead you have to press the click wheel in and then scroll through the usual PASM options to change the shooting mode.
The Leica SL2-S has exactly the same pared-back ergonomics as the SL2, so we get the same simplified three button layout to the left of the LCD on backplate, which is preferable to the thin unmarked strips that stood for controls on the even more minimalist original SL model.
At least here, then, we’re not always prodding around in the dark trying to find the functionality we crave, though a dedicated delete button and a ‘back’ button to jump back to prior settings on occasion may have improved the overall user-friendliness.
All this being said, the SL2-S does provide the accessibility of a touch screen – so, when in doubt, a tap of the LCD is another operational option.
We’re told that the SL2S is both dust and water resistant, to the extent that it can apparently withstand water spray from every direction. So while it’s OK to use in the drizzle, we probably wouldn’t risk dunking it in the pond.
Though we’ve questioned the sheer heft of the camera, the robustness of the build quality is so reassuringly solid that, providing the internal electronics hold up, the SL2-S could surely last years of use – which we’d certainly want it to at this price.
The fact that the SL2-S features a large postage stamp sized top-plate status display window is a real plus in operation. It’s really helpful in not being distracted by having to otherwise refer back to the larger screen at the rear of the camera, and thus take your eye off your subject for even longer.
The rest of the Leica SL2S’s top plate is fairly conventional, with a familiarly raised viewfinder-housing mid section also finding space for a vacant hot shoe, as well as integral stereo microphones positioned just in front.
We additionally get a bottle-top style control wheel and a springy shutter release button located on the forward slope of its handgrip, where it automatically falls under you right forefinger.
Located just behind the mode wheel are two unmarked function buttons – presumably giving them markings would have interrupted the minimalist appearance of the top plate.
On our review sample the left one here was set to quickly switch between the dedicated photo and video modes, while the right button was set to call up the ISO speed options.
Here we get the choice of fully auto ISO (pretty accurate too), and then a very capable light sensitivity range stretching from ISO 50 up to ISO 100000, one stop better than the higher-resolution SL2.
The only writing here is the camera model name etched into the rim of the hotshoe, now blacked-out rather than a bright white as on the SL2.
Of course we get the familiar red Leica logo at the front, plus an additional bold ‘Leica’ etched in capitals above the lens mount, although that has also been changed from a rather conspicuous white to a much more subtle all-black lettering on this model.
The back of the camera, while featuring three marked buttons for ‘Play’, ‘Menu’ and ‘Fn’ (function) is otherwise very clean looking.
Rather than placing it on the top plate, as with most cameras, here the main on/off button is located out of harm’s way at the top left of the backplate, where, presumably, there is less chance of it being accidentally activated by a stray finger or thumb.
While your right hand encircles the handgrip on this camera, your left naturally moves forward to support the lens.
The Leica SL2-S’s large and clear 3.2-inch back-lit LCD screen sits slightly off centre to the left, with a bezel design that causes it to stand slightly proud of the camera’s surface and suggest, to the untrained eye, that it might tilt or be adjustable in some way.
But no, the LCD here is resolutely fixed and conventional in that sense. While this monitor can be used for composing and of course reviewing images, we more naturally found ourselves using the outstanding electronic viewfinder ranged directly above it.
Usefully, Leica has also provided a thumb wheel top right of the camera back, with a slightly roughened surface to the front and the right side rear of the camera preventing slippage – although the sheer heft of the camera also helps prevent any wobble in the hand (incidentally there is five axis body integral image stabilisation built in here, equivalent to 5.5 stops).
There are a further two unmarked function buttons on the camera back. One is a function button for switching between the 2.1 million dot resolution LCD and whopping 5.76 million dot EVF, while the other is more of a toggle lever or mini joystick, which can be used for navigating and selecting on-screen menu settings, or jumping from one captured image to the next.
A quicker way to do this, however, is simply to swipe through shots with a finger, like we’d do on a mobile phone or smart device. Indeed, Leica has said it has attempted to make the SL2-S’s screen as responsive as that of an iPhone,and while we wouldn’t go quite that far, it is refreshingly responsive in use compared to most digital cameras.
Switch the camera on and you’ll find the Leica SL2 is as responsive as any DSLR or equivalent mirrorless camera, with either the rear screen or the eye level viewfinder quickly bursting into life, dependent on how you’ve got the camera set up. We were shooting JPEG in tandem with Leica’s Raw equivalent DNG files.
Half squeeze the shutter release button and the AF point immediately illuminates in green to signify the nearest subject is in focus. Obviously there is the opportunity to change this mode and shoot manually with this camera, but to be honest we found the Leica’s AF so reliable – even when confronted with fairly busy scenes and subject matter – that there’s barely the need.
The right of the camera, if viewing it from the back is where we find a compartment housing not one but two SD UHS-II card slots, which is again another way of the SL2S showing its professional mettle.
In operation, we also liked the fact that the electronic viewfinder, here with diopter adjustment markings, juts out sufficiently proud of the body with a rubber cushioned eye relief to avoid our nose scrunching up against the rear LCD screen. With the camera held to our right eye it just misses it, though doesn’t quite clear the left hand edge of the camera.
Operationally, the Leica SL2-S’s onscreen menus are clearly laid out across either 5 or six screens depending on whether you have the camera in video (5 screens) or stills (6) shooting modes. With an initial press of the menu button we are provided with a full screen’s worth of essential settings at a glance, with a visible tab sitting behind, displaying either Photo or Video. A simple on-screen finger taps alternates between them.
Video recording starts with a full press of the shutter release button, with AF able to be adjusted mid recording if required with a gentle half press of the shutter release; obviously if you press too hard then the video stops recording. Video footage, partly thanks to a decent lens as well as sensor, looks stunning.
The HDMI output and a USB port are well hidden under moulded rubber flaps at the left hand side on the SL2-S camera itself. There are further ports for plugging in an external microphone and also a port for a headset to monitor sound with, although the internal microphones should be sufficient for most non-professional usage.
Battery life via the chunky lithium-ion rechargeable pack secreted away at the camera base is good for 510 shots, according to CIPA standard, which, while much less than a professional DSLR you could otherwise buy for this outlay, is pretty good for a mirrorless camera. Re-charging time from spent to fully charged is quoted as 140 minutes.
All of the sample images in this review were taken using the 24 megapixel JPEG setting, which results in an average image size of around 10Mb.
The Leica SL2-S produced still images of excellent quality during the review period.
This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 6400, with significant noise first appearing at ISO 12500. The faster settings of 25000 and 50000 display quite a lot of noise, but they’re still fine to use for making smaller prints and web images. You should avoid using the fastest ISO 102400 setting if possible.
The SL2-S proved to very capable in low-light, with the maximum shutter speed of 30 seconds and the Bulb mode allowing you to capture enough light in all situations and the camera’s -6EV rating successfully auto-focusing even in near-dark conditions.
There are 12 ISO settings available on the Leica SL2-S running from ISO 50-100000. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.
The Leica SL2-S’s maximum shutter speed is 60 seconds in the Manual mode and there’s a Bulb mode for up to 30 minute exposures, which is great news if you’re seriously interested in night photography. The shot below was taken using a shutter speed of 30 seconds at ISO 50.
The Leica SL2-S has five different Film Styles that are applied to JPEGs only.
Monochrome High Contrast
This is a selection of sample images from the Leica SL2-S camera, which were all taken using the 24 megapixel JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
Sample RAW Images
The Leica Sl2-S enables users to capture RAW and JPEG format files. We’ve provided some Leica RAW (DNG) samples for you to download (thumbnail images shown below are not 100% representative).”
Sample Movies & Video
This is a sample 4K movie at the quality setting of 4096×2160 pixels at 60 frames per second.
This is a sample 4K movie at the quality setting of 4096×2160 pixels at 60 frames per second.
The new Leica SL2-S is a speedier, stealthier, more sensitive version of 2019’s SL2 camera – we’ll leave you to work out which one of those “s” words seems most appropriate for the “S” in SL2-S – we’d probably say all three.
Impressively, you get exactly the same stellar build quality, intuitive control layout and impeccable handling as the more expensive SL2, just with a more manageable 24 megapixel sensor that improves the low-light performance, video recording, and burst shooting, all at a much lower price-point than the 47 megapixel SL2.
We would have ideally preferred the new features that are being added as part of a Spring 2021 firmware update to be present at the camera’s actual launch, particularly the improved auto-focus system, but at least they’re on their way at some point this year.
The SL2-S is a better-balanced camera than its high-resolution big brother, thanks largely to that 24 megapixel BSI sensor. If you were put off by the huge file sizes that the SL2 produces or wanted less noise at higher ISOs or needed even faster burst shooting, this is the model to go for out of the two.
Leica have also seen fit to make this camera a little more stealthy than the SL2, mainly by blacking-out the large Leica name badge on the front of the camera, although the famous red dot has been left well alone.
Of course, there are a multitude of options available outside of the Leica eco-system (gasp!), and here the SL2-S doesn’t compare quite so well. It’s contrast-based AF system in particular rather holds it back, at least until that promised firmware upgrade arrives, the headline 25fps burst shooting is only achieved by locking the AF and exposure at the first frame, while the 4K/60p video mode only works by applying an APS-C crop.
Overall, though, the SL2-S is an eminently sensible Leica camera thanks largely to its 24 megapixel sensor – it’s even relatively affordable, at least by Leica standards – and for the majority of users represents a better choice than the SL2.
|Ratings (out of 5)|
|Value for money||4|
Listed below are some of the rivals of the Leica SL2-S.
The EOS R5 has been the hottest full-frame camera on the block ever since Canon pre-announced it back at the start of 2020, thanks to its headline grabbing twin features of a 45 megapixel sensor and 8K video recording. We’ve seen it a few times since then, but now we can finally bring you our final Canon R5 review, complete with full-size sample photos and videos!
The EOS R6 is the best ever Canon mirrorless camera – there, we said it! If you want to find out why, carry on reading our in-depth Canon EOS R6 review, complete with full-size sample photos and videos.
The Hasselblad X1D II 50c is a modern medium-format mirrorless camera with a 51 megapixel sensor, large 3.6-inch touchscreen LCD and an improved electronic viewfinder, all housed in a beautifully crafted body. Read our in-depth Hasselblad X1D II 50c review now…
The Leica SL2 is a new mirrorless camera for professionals, offering a 47 megapixel full-frame sensor, 4K/60p video recording, 20fps burst shooting, a class-leading EVF, fast auto-focusing and a 3.2-inch touchscreen. Read our in-depth Leica SL2 review now to find out what this £5,300 / $5,995 camera is capable of…
The Nikon Z6 II mirrorless camera is an evolutionary upgrade of the original Z6, principally improving the autofocusing, buffer and video and adding a second memory card slot. Is this enough to compete with its main rivals? Find out now by reading our in-depth Nikon Z6 II review, complete with full size sample photos and videos…
The Nikon Z7 II full-frame mirrorless camera is the 2020 update of the original Z7 model, principally improving the autofocusing, buffer and video and adding a second memory card slot. Are these changes enough for it to compete with its main rivals like the Sony A7R IV and the Canon EOS R5? Find out now by reading our in-depth Nikon Z7 II review, complete with full size sample photos and videos…
The Panasonic S1 is the more sensibly specced and sensibly priced sibling of the flagship S1R full-frame mirrorless camera. It lowers the number of megapixels whilst upping the video capabilities, promising a more well-rounded camera at a more affordable price-point. Does the new Lumix S1 have what it takes to compete with the likes of the Sony A7 III, Nikon Z6 and Canon EOS R? Read our detailed Panasonic S1 review to find out…
Panasonic have enjoyed a lot of success with their Micro Four Thirds camera range, and now they’ve turned their attention to the full-frame market with the release of the exciting new Lumix S1R. This is a 47 megapixel full-frame mirrorless camera with 187 megapixel high resolution mode, class leading electronic viewfinder, 6-stop IBIS, and a robust weatherproof body. Read our in-depth Panasonic S1R review now to find out more about this impressive camera…
The Panasonic S5 is a brand new hybrid full-frame mirrorless camera that’s equally as capable at shooting both stills and video. In an ever more crowded market, does the Lumix S5 offer enough to stand out against the likes of the Sony A7 III, Canon EOS R and Nikon Z6? Read our in-depth review of the Panasonic S5 to find out, complete with full-size sample photos and videos.
The new A7 III is the most affordable Sony full-frame camera in the Alpha range, but as our in-depth review reveals, it’s far from being the most basic. Find out why we think this is the best camera of 2018 (so far at least) by reading our in-depth Sony A7 III review…
Traditionally, you’d have to make a tough choice between resolution and speed when it comes to high-end cameras, but with the new flagship A7R IV mirrorless model, Sony are attempting to offer the best of both worlds. Can it really succeed as a camera that suits all kinds of photographers? Read our in-depth Sony A7R IV review to find out…
Reviews of the Leica SL2-S from around the web.
The SL2-S looks like a great option for those that are already using the L mount. The price looks steep by regular standards, but it’s much lower than the higher-resolution Leica SL2. What’s really good about this camera is that even with such a drastic difference in price, the compromises are minimal and the drop in resolution is the only major downside. This could be a great entry point for those considering and SL camera system. It could even serve as a brilliant second body for those that already own the SL2. However, for the rest of us, options from Panasonic may offer greater value for money.
Read the full review »
|Camera type||Mirrorless full-frame system camera|
|Buffer memory||4 GB: DNG™: > 999 recordings / JPG: > 999 recordings|
|Storage medium||UHS-II (recommended), UHS-I, SD/SDHC/SDXC memory card|
|Material||Full-metal housing made of aluminum and magnesium, leatherette, cover, splash-water protected in compliance with IEC standard 60529 (protection type IP54).|
|Lens mount||Leica L bayonet with contact strip for communication between lens and camera|
|Operating conditions||-10 to +40°C|
|Interfaces||ISO accessory shoe with additional control contacts, HDMI jack 2.0b Type A, USB 3.1 Gen1 Type C, Audio-Out 3.5 mm/Audio-In 3.5 mm, communication interface in the base cover for multifunction hand grip|
|Tripod thread||A 1⁄4 DIN 4503 (1⁄4”) with stainless steel in the base|
|Dimensions (WxHxD)||146 x 107 x 42 mm|
|Weight||approx. 850 g (without battery), approx. 931 g (with battery)|
|Sensor size||CMOS sensor, pixel pitch: 5.94 μm / Fullframe (24.6 MP): 6072 x 4056 pixels / APS-C (10.6 MP): 3984 x 2656 pixels|
|Image Stabilization||5 axis Body Image Stabilization. Camera stabilizes up to 5.5 stops.|
|Filter||RGB color filter, UV/IR filter, no low-pass filter|
|Processor||Leica Maestro series (Maestro III)|
|File formats||Photo: DNG™ (raw data), DNG + JPG, JPG (DCF, Exif 2.31) Video: MP4: H.264/MPEG-4 AVC (Audio Format: 2ch 48kHz/16 bit, AAC), MOV: H.264/MPEG-4 AVC (Audio Format: 2ch 48 kHz/16 bit, AC-3)|
|Picture resolution||DNG™: 8368 x 5584 pixels (46.7 MP) JPG: 8368 x 5584 pixels (46.7 MP), 6000 x 4000 pixels (24 MP), 4272 x 2848 pixels (12 MP)|
|Color depth||DNG™: 14 bit, 12 bit (super high continuous shooting), JPG: 8 bit|
|Color space||Picture: sRGB, ECI-RGB v2.0, Adobe RGB Video: Rec. 709/Rec. 2020 (HLG)/L-Log|
|File size||DNG™: 44 MB JPG: depending on resolution and image content Video: unlimited, max. file size: 96 GB|
|Recording Mode Video||Video mode: P – A – S – M / Cine mode: M|
|Video resolution||35 mm – C4K (17:9) 4096×2160 pixels (Sensor range: 6000 x 3168 pixels)
35 mm – 4K (16:9) 3840×2160 pixels (Sensor range: 6000 x 3368 pixels)
35 mm – Full HD (16:9) 1920×1080 pixels (Sensor range: 6000 x 3368 pixels)
APS-C – C4K (17:9) 4096×2160 pixels (Sensor range: 4128 x 2176 pixels)
APS-C – 4K (16:9) 3840×2160 pixels (Sensor range: 3984 x 2240 pixels)
APS-C – Full HD 1920×1080 pixels (Sensor range: 3984 x 2240 pixels)
|Video frame rate||MOV C4K: 59,94 B/s, 4:2:0 / 8 Bit (SD), 4:2:2 / 10 Bit (HDMI), APS-C, H.264, Long GOP, 150Mbps
MOV C4K: 50 B/s, 4:2:0 / 8 Bit (SD), 4:2:2 / 10 Bit (HDMI), APS-C, H.264, Long GOP, 150Mbps
MOV C4K: 29,97 B/s, 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400Mbps
MOV C4K: 25 B/s, 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400Mbps
MOV C4K: 24 B/s, 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400 Mbps
MOV 4K: 59,94 B/s, 4:2:0 / 8 Bit (SD), 4:2:2 / 10 Bit (HDMI), APS-C, H.264, Long GOP, 150 Mbps
MOV 4K:50 B/s 4:2:0 / 8 Bit (SD), 4:2:2 / 10 Bit (HDMI), APS-C, H.264, Long GOP, 150 Mbps
MOV 4K:29,97 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400 Mbps
MOV 4K:25 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400 Mbps
MOV 4K:23,98 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 400 Mbps
MOV FHD: 180 B/s 4:2:0 / 8 Bit (SD & HDMI), APS-C, H.264, Long GOP, 20 Mbps
MOV FHD:150 B/s 4:2:0 / 8 Bit (SD & HDMI), APS-C, H.264, Long GOP, 20 Mbps
MOV FHD:120 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MOV FHD:100 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MOV FHD:59,94 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 200 Mbps
MOV FHD:50 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 200 Mbps
MOV FHD:29,97 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 200 Mbps
MOV FHD:25 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 200 Mbps
MOV FHD:23,98 B/s 4:2:2 / 10 Bit (SD & HDMI), 35mm & APS-C, H.264, ALL-I, 200 Mbps
MP4 4K: 59,94 B/s 4:2:0 / 8 Bit (SD & HDMI), APS-C, H.264, Long GOP, 150Mbps
MP4 4K: 50 B/s 4:2:0 / 8 Bit (SD & HDMI), APS-C, H.264, Long GOP, 150Mbps
MP4 4K: 29,97 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 100 Mbps
MP4 4K: 25 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 100 Mbps
MP4 4K: 23,98 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 100 Mbps
MP4 FHD: 180 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:150 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:120 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:100 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:59,94 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 28 Mbps
MP4 FHD:50 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 28 Mbps
MP4 FHD:29,97 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:25 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 20 Mbps
MP4 FHD:23,98 B/s 4:2:0 / 8 Bit (SD & HDMI), 35mm & APS-C, H.264, Long GOP, 24 Mbps
|Bit Rate||8/10 bit for recordings on SD card, 10 bit via HDMI output|
|Video Gamma||Rec. 709, L-Log Rec. 2020, HLG Rec. 2020|
|Viewfinder (EVF)||Resolution: 5,760,000 dots, 120 fps, magnification: 0.78x, aspect ratio: 4:3, frame coverage: 100%, exit pupil position: 21mm, setting range +2/-4 diopters, with eye sensor for automatic switchover between viewfinder and LCD panel, time delay 0.005 s|
|LCD panel||3.2“ (backlight LED) with anti-fingerprint and anti-scratch coating, 2,100,000 pixels (dots), format 3:2, touch control available|
|Top display||1.28“ highly reflective trans-reflective monochrome LCD, 128 x 128 pixels, viewing angle 120°; anti-fingerprint coating|
|Shutter type||Electronically controlled focal plane shutter/electronic shutter|
|Shutter speeds||Mech. shutter: 30 min to 1⁄8000 s / Electr. shutter function: 1 s to 1⁄16000 s / Flash Sync: up to 1/250 s|
|Shutter button||Two-stage (1st stage: Activation of the camera electronics including autofocus and exposure metering, 2nd stage: Taking the picture)|
|Self-timer||Delay time: 2 s or 12 s|
Single Continuous Low Speed (2 fps)
Continuous Medium Speed (5 fps)
Continuous High Speed (9 fps without AFc/AE/WB)
Continuous Super Speed (25 fps with electr. shutter function without AFc/AE/WB)
|Multishot||Generates 2 DNGs: 1x 24 MP, 1x 96 MP (8 pictures are combined into one high-res image)|
|Focus Mode||Automatic (Autofocus in modes iAF/AFs/AFc/Touch AF) or manual. With manual setting: Auto Magnification and Focus Peaking optionally available as focus aids|
|Autofocus system||Based on contrast metering and depth mapping|
|Autofocus modes||Intelligent AF (autonomously selects AFs and AFc), AFs (picture taken only after successful focusing), AFc (picture can be taken at any time), AF setting can be saved|
|Autofocus Metering Methods||Spot (can be shifted), Field (can be shifted), Multi-Field, Zone, Face detection, object tracking, optional Touch AF|
|Autofocus Metering Fields||225|
|Exposure metering||TTL (“Through The Lens” exposure metering)|
|Exposure Metering Methods||Spot, Center-Weighted, Multi-Field|
|Exposure modes||Automatic program (P), Aperture priority (A): manual aperture setting, Shutter priority mode (S): manual shutter speed setting Manual (M): manual setting for shutter speed and aperture|
|Exposure Compensation||±3 EV in 1⁄3 EV increments or 1/2 EV increments|
|Automatic bracketing||3 or 5 exposures, up to ±3 EV, in 1⁄3 EV increments Shift function: up to ±3 EV, additional JPG-HDR|
|ISO sensitivity range||Auto ISO: ISO 100 to ISO 100000, Manual: ISO 50 to ISO 100000|
|White balance||Automatic (Auto), Daylight 5200 K, Cloudy 6000 K, Shadow 7000 K, Tungsten 3200 K, HMI 5600 K, Fluorescent Warm 4000 K, Fluorescent Cold 4500 K, Flash 5400 K, Gray Card Live View, Gray Card, Color Temperature 2000 K to 11500 K|
|Flash unit connector||Accessory shoe|
|Flash sync time||1⁄250 sec, slower shutter speeds available, automatic changeover to TTL linear flash mode with HSS-compatible Leica flash units|
|Flash exposure metering||Using center-weighted TTL pre-flash metering with Leica flash units (SF 26, 40, 58, 60, 64) or with system-compatible flash units, flash remote control SF C1|
|Flash exposure compensation||SF 40: ±2 EV in 1⁄2 EV increments, SF 60: ±2 EV in 1⁄3 EV increments|
|Microphone||Stereo internal + microphone input 3.5 mm stereo jack + power supply voltage (approx. 2.5 V)|
|Speaker||Mono internal + headphones output 3.5 mm stereo jack|
|WLAN||The Leica FOTOS app is required to use the WLAN function. The Leica app is available from the Apple App Store™ or the Google Play Store™. Compliant with Wi-Fi IEEE802.11b/g/n, 2.4 GHz, channel 1-11 (2412-2462 MHz) and Wi-Fi IEEE802.11ac, 2.4 GHz & 5 GHz, channel 39-48 (5180-5240 MHz), channel 52-64 (5260-5320 MHz), channel 100-140 (5500-5700 MHz) (standard WLAN protocol), encryption method: WLAN-compatible WPA™/WPA2™|
|Bluetooth||Bluetooth v4.2 (Bluetooth Low Energy (BLE)), 2402 to 2480 MHz|
|GPS||Via Leica FOTOS app|
|Menu languages||English, German, French, Italian, Spanish, Russian, Japanese, Simplified Chinese, Traditional Chinese, Korean|
|Rechargeable battery (Leica BP-SCL4)||Lithium-ion rechargeable battery, rated voltage: 7.2 V (DC); capacity: 1860 mAh (min.); charging time: approx. 140 min
(after deep discharge); manufacturer: Panasonic Energy (Wuxi) Co. Ltd., Made in China
Approx. 510 shots (according to CIPA standard, with auto power-off 10s), approx. 1430 shots (according to CIPA standard,
adjusted shooting cycle*, with auto power-off 5s)
*Alternating: switch on, one exposure every 3s, switch off after 10 exposures, 5min waiting time; switch on, one exposure
every 3s, switch off after 50 exposures, 5min waiting time
|USB Power Supply||USB charger function in standby mode or when switched off, USB power supply when switched on|
|Charger (Leica BC-SCL4)||Input: AC 100–240 V, 50/60 Hz, 0.25 A, automatic switchover; Output: DC 8.4 V 0.85 A; Manufacturer: Salom Electric (Xiamen) Co., Ltd., Made in China|