New PODCAST 🎧 ep99 - What's the camera of the future? Trying out new features on CineD.com Listen or watch now!
LISTEN to PODCAST 🎧 ep99 🎬
What's the camera of the future?
Education for Filmmakers
Language
The CineD Channels
Info
New to CineD?
You are logged in as
We will send you notifications in your browser, every time a new article is published in this category.
You can change which notifications you are subscribed to in your notification settings.
Leica recently released two new more “affordable” – at least compared to their other lenses – prime lenses: the Summicron-SL 35 and 50mm F2 ASPH. These two L-mount lenses cover full-frame image sensors, are dust and splash-proof, and the main difference between their much more expensive APO cousins is the lens design. So let’s take a closer look at these two new Leica primes!
The Leica SL2 was launched back in November 2019, and the SL2-S video-oriented version came out in December 2020. My colleague Johnnie reviewed the SL2 and had mixed feelings about it. Indeed, while the reputation and premium brand image of Leica in the photographic market is well-established, it’s not the same in the filmmaking market. However, we can’t deny that the company puts a lot of effort and adds many features along the lifespan of the SL2 and SL2-S via firmware updates, like external ProRes RAW recording capabilities.
Besides the premium price of its camera bodies, Leica L-mount lenses are also not the cheapest. Don’t get me wrong, these lenses are superb, and one synonym of the Leica SL lineup of lenses could be “no-comprises.”
If you don’t want to sell one of your kidneys for a Summicron-SL APO prime lens, Leica has released “entry-level” prime lenses: the Summicron-SL 35 F2 ASPH and the Summicron-SL 50 F2 ASPH.
Even if the new Leica Summicron-SL 35 and 50mm F2 ASPH lenses are now the most affordable prime lenses of the Summicron-SL lineup, the company did not take any shortcuts in creating them.
Indeed, both lenses are entirely made out of aluminum with a magnesium-alloy lens mount. Furthermore, they are dust and splash-water protected so that you can confidently take them on your next adventure.
If you plan to use them on a gimbal, you’ll love that both lenses have identical dimensions with a length of 8.3cm and a diameter of 7.4cm. In terms of weight, they’re similar, but if we want to be precise, the SL 35 is only 400g, while the SL 50 is 402g/14.2oz.
According to Leica, both lenses offer “fast internal focusing with an inner direct drive motor.” However, as you can tell, there is no Autofocus switch on the lenses, as you have to switch to manual focus in-camera.
The lens design of the Summicron-SL 35 F2 ASPH consists of eleven elements in nine groups, including three ASPH glass elements. The APO version has thirteen elements in eleven groups with APO coatings. The minimum focusing distance is 24cm.
The Summicron-SL 50 F2 ASPH has nine elements in eight groups – compared to twelve elements in ten groups for the APO version – and also includes three ASPH glass elements. The minimum focusing distance is 45cm.
On both lenses, you’ll find an AquaDura hydrophobic coating on external lenses. The front filter diameter is identical between the two at 67mm.
Both lenses are available now. The Leica Summicron-SL 35 F2 ASPH retails for $2,195, while the Summicron-SL 50 F2 ASPH will “only” cost you $1,895.
As a direct comparison, the Leica APO-Summicron-SL 35mm F2 ASPH is $5.195 – the same price as the SL2-S – and the APO 50mm F2 ASPH is $5,095.
For more information, please visit Leica’s website here.
What do you think about these two new Leica Summicron-SL prime lenses? Did you ever shoot with the SL2 or SL2-S? Don’t hesitate to let us know in the comments down below!
Δ
Stay current with regular CineD updates about news, reviews, how-to’s and more.
You can unsubscribe at any time via an unsubscribe link included in every newsletter. For further details, see our Privacy Policy
Want regular CineD updates about news, reviews, how-to’s and more?Sign up to our newsletter and we will give you just that.
You can unsubscribe at any time via an unsubscribe link included in every newsletter. The data provided and the newsletter opening statistics will be stored on a personal data basis until you unsubscribe. For further details, see our Privacy Policy
Jeff Loch is a French freelance director, editor and colorist, working mostly on music videos, commercials, and corporate films.