Image Quality

Preface: A lot of the following images were taken during my holiday break, and while that sounds like a great time to test a camera, my ‘other-half’ had ‘other’ plans! Therefore these are just a few of the snaps I could manage while trying to be a good partner ;-)

Some images have been left straight out of camera, and some have been colour graded.

Resolution - Historical Relevance

Back in 1913/1914, when the Ur-Leica was conceived, Oskar Barnack and Ernst Leitz II relied heavily on the company’s optical expertise to realize the revolutionary concept of "small negative-large print." Max Berek, a visionary optical engineer, was tasked with creating high-resolution optics for both the camera lenses and the new enlargers. These enlargers were essential to turn small negatives into large prints while maintaining the exceptional quality synonymous with the Leica name. Berek's pioneering work in developing these advanced optical systems was crucial in establishing Leica's reputation for excellence in photography and optical engineering.

His contributions ensured that images captured on small negatives could be enlarged without losing detail or clarity, setting a new standard in the photographic industry. This dedication to optical precision and innovation laid the foundation for the success of the 35mm format. Today, we benefit from this legacy with the high resolution 60MP capabilities of modern Leica cameras, combining the advantages of a smaller format with exceptional image quality.

As I've previously mentioned, I didn't need more than 24MP, and that hasn't really changed — except for one area of my work: commercial photography. I shoot the Leica Watches ZM Collection ambient images for Leica, and while 24MP is sufficient for most purposes, there's just something about those 60MP files that really makes a difference. For online imagery, the difference may not be discernible, but with printed images above A3 size, the incredible detail is unmistakable.

Leica SL3 with the APO-Macro-Elmarit 2.8/100mm (Leica ZM 11 Launch Edition)

I use the APO-Macro-Elmarit-R 2.8/100mm lens, which provides exceptional resolution without any CA (chromatic aberration). When coupled with the SL3, it delivers outstanding image quality — more than I could have imagined and really need. Leica now offers three DNG resolutions: 60MP, 36MP, and 18MP. Unless you're looking to save on storage costs, shoot more images faster before the buffer fills, or, like me, occasionally forget to bring extra cards and have very little space left, there's no reason to shoot anything under 60MP. Instead of switching to smaller JPEGs, you can shoot smaller RAW images. I never shoot JPEGs and see no benefit in doing so — you might as well shoot on your phone if that's the case. During my time with the SL3, I have used the following lenses:

APO-Summicron-M 50/2 ASPH
Summilux-M 35/1.4 Steel Rim reissue
APO-Summicron-SL 28/2 ASPH
Summicron-SL 35/2 ASPH
APO-Macro-Elmarit-R 100/2.8
Summaron-M 35/2.8
APO-Telyt-T-R 180/3.4

You'll see images throughout this review that showcase incredible resolution that carry a hefty weight in file size. The RAW files average 75MB each, so they can put some pressure on your hard drive if you're not shooting efficiently. However, the files are beautiful, rendering as much information as technically possible, especially when paired with Leica's top lenses like an APO M or SL lens.

One significant advantage of the SL3's high-resolution sensor is its ability to capture minute details, which is crucial for watch portraiture. The 60MP sensor allows for capturing intricate engravings, textures, and reflections on watch dials and cases with incredible clarity. This level of detail not only enhances the visual appeal of the images but also allows for larger prints without losing quality, making it perfect for high-end marketing materials and exhibitions.

Moreover, the flexibility offered by different resolution settings (60MP, 36MP, and 18MP) means that photographers can choose the appropriate resolution based on their specific needs. For instance, when shooting fast-paced events or needing to conserve storage space, the lower resolutions can be incredibly useful. However, for studio shoots or high-detail product photography, the 60MP setting is a must.

The high-resolution capabilities also allow for significant post-processing flexibility. Cropping into a 60MP image can still leave you with a highly detailed and usable file, which is a massive advantage for creative compositions and framing adjustments, when you don’t have the ability to get closer. While I don't typically shoot to crop, knowing that I have the option to do so without compromising image quality is reassuring.

The incredible detail and flexibility it offers have spoiled me, making it hard to go back to lower resolutions—you know how this works! The SL3, paired with Leica's exceptional lenses delivers a level of image quality, setting a new standard for professional photography, and rivalling the best of any medium format system.

High ISO Performance

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/100sec at f/2 | ISO 25,000 | Mt.Fuji, Japan

My preference between the SL2-S and SL2 was the SL2-S due to its speed and high ISO performance, but interestingly, I also preferred its dynamic range and overall pixel structure. Therefore, you can understand why I was somewhat sceptical that the SL3 could follow in the footsteps of the SL2 instead of the SL2-S. However, to my pleasant surprise, the SL3 feels like an extension of the SL2-S with higher resolution.

In fact, the noise performance of the SL3 is very close to that of the SL2-S, yet it offers much more resolution. Imagine the low-light performance of the SL2-S with 60MP—it’s that good! This is a testament to Leica’s ability to truly innovate and integrate the very best features into their cameras. Unlike other brands that innovate on a yearly basis, Leica’s commitment to offering true long-term value is demonstrated by putting the very best into their cameras every four years during their product life cycle. This approach ensures that each camera is packed with cutting-edge technology and maintains its relevance and performance for years to come.

Leica SL3 | APO-Summicron-SL 28/2 ASPH | 1/125sec at f/2 | ISO 25,000 | Harry Potter Exhibition: Tokyo, Japan

Leica SL3 | Summicron-SL 35/2 ASPH | 1/320sec at f/2 | ISO 3,200 | Roma, Italy

Leica SL3 | APO-Summicron-SL 28/2 ASPH | Tokyo, Japan

Leica SL3 | APO-Summicron-SL 28/2 ASPH | 1/250sec at f/2 | ISO 1,600 | Tokyo, Japan

The SL3 maintains the dynamic range and file structure that made the SL2-S a favourite among photographers like myself. The ability to capture intricate details in both shadows and highlights, even in challenging lighting conditions, is remarkable. The higher resolution of the SL3 means that even when shooting at high ISOs, the images retain exceptional clarity and detail, with a grain structure that is not too unlike film, making it a versatile tool for a wide range of photographic applications. Never before have I seen a camera render this much resolution, with so much dynamic range in low light situations.

Moreover, the SL3's speed and responsiveness are on par with what users loved about the SL2-S. Whether I’m shooting fast-paced action or need quick adjustments in the field, the SL3 has delivered with precision and reliability, and not only lives up to the legacy of its predecessors but also elevates it by offering a unique blend of high resolution and exceptional low-light performance – something we haven’t seen before from any brand.

Leica SL3 | APO-Summicron-SL 28/2 ASPH | 1/500sec at f/4 | ISO 5,000 | Tokyo, Japan

Colour

The SL3’s sensor excels in rendering accurate colours, capturing a wide dynamic range, while using Leica’s flat-field optics to maintain perfect sharpness across the frame. Leica's renowned colour science is a key feature of the SL3 as it is with all their systems, ensuring that images have a natural, yet vibrant look straight out of the camera.

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/2000sec at f/2 | ISO 100 | Morges, Switzerland

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/1000sec at f/2 | ISO 50 | Morges, Switzerland

Leica SL3 | APO-Summicron-SL 28/2 ASPH | 1/400sec at f/5.6 | ISO 800 | Mt Fuji, Japan

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/5000sec at f/2 | ISO 50 | Roma, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/640sec at f/2 | ISO 100 | Roma, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/800sec at f/4 | ISO 100 | Vatican City, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/1000sec at f/11 | ISO 100 | Vatican City, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/1000sec at f/2 | ISO 400 | Roma, Italy

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/80sec at f/2 | ISO 5000 | Vienna, Austria

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/640sec at f/4.5 | ISO 400 | Geneva, Switzerland

Photographers value many attributes when it comes to colour. For me, it’s accuracy and consistency—giving me less to correct and more time to colour grade if desired. Leica's approach to colour science ensures that the hues and tones captured are true to life. This is particularly crucial for genres like portrait and product photography, where colour fidelity is paramount.

Skin tones are rendered with remarkable naturalness, showcasing subtle gradations and consistent colour accuracy. This ensures no unwanted colour shifts between shots, even without relying on auto white balance. As a result, photographers can expect a reduced post-processing workload, allowing them to focus more on their creative vision and less on corrective edits. This meticulous attention to colour fidelity not only enhances the overall quality of the images but also streamlines the workflow.

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/1250sec at f/2 | ISO 400 | Melbourne, Australia

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/2500sec at f/4 | ISO 200 | Geneva, Switzerland

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/8000sec at f/2 | ISO 100 | Geneva, Switzerland

Product shots benefit immensely from colour accuracy, ensuring that the hues of the watches I shoot are depicted precisely as they appear in real life. This level of fidelity is crucial for marketing and advertising, where true-to-life representation is paramount for conveying the product's authentic appeal. Accurate colour rendering helps build customer trust and enhances the perceived quality of the products, making potential buyers more confident in their purchase decisions - yes I think about this when I’m shooting - we all should!

Moreover, this precision in colour accuracy reduces the need for extensive post-processing, streamlining the workflow and allowing marketing teams to produce high-quality images more efficiently. The consistency across different shots ensures that every promotional material, from online ads to printed brochures, maintains a unified and professional look. This not only saves time and resources but also strengthens brand identity by presenting the products in the best possible light. With the SL3, achieving true-to-life product photography becomes an effortless process, significantly boosting the effectiveness of marketing and advertising campaigns.

Dynamic Range

The SL3's sensor captures an impressive dynamic range of 15 stops, effectively covering light intensities from fairly deep shadows to bright highlights. In comparison, traditional film captures around 8 stops, making the SL3's capability a significant advancement. This extensive dynamic range allows me to preserve intricate details in both shadows and highlights, even in high-contrast scenes. Whether capturing the subtle hues of a sunset or the intricate details of a backlit portrait, the SL3 ensures no detail is lost, as long as you’re exposing for the highlights. Like most modern cameras, you can confidently adjust exposure and contrast, knowing the sensor has retained a wealth of information that can retrieve data when needed.

Leica SL3 | APO-Summicron-M 50/2 ASPH | 1/125sec at f/2 | ISO 1000 | Mt.Fuji, Japan

Whether capturing the subtle gradient of a sunset landscape or the intricate nuances of a backlit portrait, the SL3 ensures that no detail is lost. This results in a balanced and dynamic image that provides a strong foundation for further enhancement in post-production, if desired. This combination of superior colour accuracy and dynamic range makes the SL3 an indispensable tool for achieving professional-grade results in any photographic endeavor.

Using the APO Summicron-SL 28/2 ASPH lens

The APO-Summicron-SL 28mm lens is the only autofocus APO-corrected 28mm lens in existence, and it is as close to perfect as a wide-angle lens can get. I don’t say this about many lenses, but this one truly has no optical weaknesses. It shares the same footprint as Leica’s other APO SL lenses, including the 21mm, 35mm, 50mm, 75mm, and 90mm. Its size allows for greater flexibility in optical correction, a crucial factor in its exceptional performance. Lens designers often have to compromise on size, but Leica’s legendary optical designer, Peter Karbe, spared no expense or space when optimizing this masterpiece.

Leica SL3 | APO-Summicron-SL 28/2 ASPH | Kyoto, Japan

From f/2, the APO-Summicron-SL 28mm is already optically perfect—sharp from center to edge, rendering images with the same exceptional quality as Leica’s other APO-Summicron-SL lenses, right alongside the best lens Leica has ever made: the APO-Summicron-SL 35/2. This lens is so well corrected in every way – almost no distortion, flat field and no CA. The focus falls off quickly, creating a bokeh effect reminiscent of the Summilux-M 28/1.4 lens, but with smoother transitions and better overall detail and contrast. If you saw my review of the Summilux-M, you’ll know I loved it, and this Summicron lens is a significant step above that one. Given its size and optical performance objectives, it should be.

Leica SL3 | APO-Summicron-SL 28/2 ASPH | Mt Fuji, Japan

I used this lens mostly in Japan, where I found myself heeding the powerful words of Mr. Karbe: “Use it wide open or not at all!” Well, maybe not word for word, as my German leaves a lot to be desired, but I took his advice and was in awe of the results. Combined with the SL3, the APO-Summicron-SL 28mm delivered powerful imaging performance, pushing me to elevate my work to (remotely) match the quality of the lens. The only area of performance that had me wanting more was its autofocus speed, which at times could be a little slower than expected. However, understanding the engineering that goes into these large, heavy elements, it’s a fair compromise. If you look at the gigantic Zeiss Otus line, their lenses are manual focus for a reason, so I guess I should be grateful it does autofocus, and very accurately, I might add.

The lens’s ability to maintain sharpness and detail across the frame, even at its widest aperture, is truly remarkable. By being so perfect from f/2, it offers a unique potential of precision and artistry, making it ideal for a wide range of photographic applications, from street photography to landscapes. Unless you’re needing depth of field, there is no point stopping this down, making it even more useful in low light and high ISO situations I often find myself in.

Leica SL3 | Summaron-M 35/2.8 | 1/500sec at f/2.8 | ISO 100 | Schloss Braunfels, Germany

The APO-Summicron-SL 28mm lens stands out not only for its technical perfection but also for its ability to inspire me to push my creative boundaries. Its combination of sharpness, contrast, and beautiful bokeh, all in an autofocus lens, sets a new standard in the world of 28mm photography. My only wish is that the autofocus was a bit faster, the lens a bit smaller, and that it was made in M-mount. Well, you never know!

Autofocus Performance

Leica SL3 | Summicron-SL 35/2 ASPH | 1/250sec at f/2 | ISO 50 | Vatican City, Italy

The autofocus performance of the Leica SL3 represents a significant advancement over its predecessors. The SL3's autofocus system is powered by advanced algorithms and enhanced by a sophisticated sensor and processor, enabling it to lock onto subjects with impressive speed and precision.

Like the SL2 and SL2-S, one of the standout features of the SL3's autofocus is its accuracy. The camera employs a hybrid autofocus system that combines contrast-detection, subject detection, and phase-detection methods, resulting in highly accurate focusing across a wide range of scenarios. This hybrid system excels in both single-shot and continuous autofocus modes, making it a substantial upgrade. The SL3's ability to maintain focus on moving subjects is particularly noteworthy, as it effectively tracks and anticipates motion, ensuring that subjects remain sharp and in focus even during rapid movement—an area where its predecessors weren’t as successful.

The camera's sensor is highly sensitive, allowing the autofocus system to function effectively even in dimly lit environments. This is crucial for photographers who often work in low-light conditions, such as events and street photography. The SL3 can focus accurately and quickly even when light levels are challenging, reducing the need for manual prefocusing, which I relied on frequently in the past.

Leica SL3 | Summicron-SL 35/2 ASPH | 1/1250sec at f/8 | ISO 800 | Roma, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/500sec at f/2 | ISO 6400 | Vatican City, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/400sec at f/5.6 | ISO 400 | Roma, Italy

Additionally, the SL3 offers a range of customisable autofocus settings that allow you to tailor the system to your specific needs. You can adjust focus point size, select from multiple focus modes, and even customise the behaviour of the autofocus system in different shooting scenarios. This level of customisation isn’t new but is still noteworthy and ensures that the SL3 can adapt to the specific demands of the changing situations photographers often find themselves in. Moreover, the ability to use the main screen to store favourite focusing options means these customisations can be made on the fly.

Leica SL3 | Summicron-SL 35/2 ASPH | 1/500sec at f/4 | ISO 100 | Roma, Italy

Leica SL3 | Summicron-SL 35/2 ASPH | 1/125sec at f/5.6 | ISO 1600 | Roma, Italy

Put simply, I don’t use the AF system like I did when I was shooting for Getty Images or Associated Press. I no longer shoot runways, sports, major news events, or concerts like I used to, but for those of you who do, I’m confident you’ll find the upgrades impactful and in line with competing AF systems.

Muay Thai Story

I am currently working on a story about Muay Thai. Without giving too much away, here are a few pictures taken between ISO 1600 and 6400 at full 60MP resolution.

Other Bits

Power and charging

The charger is no longer included in the box with the Leica SL3. In line with environmentally forward-thinking practices, Leica joins other organisations in choosing not to include items that may not be necessary, and could contribute to landfill. However, users can charge the camera via USB-C, utilising up to 27 watts of power to charge the battery internally from 0 to 100% in approximately 1 hour. My results were similar, though I measured up to 20 watts of power delivery. An alternative charging option is the new USB-C dual charger BC-SCL6, which is available as part of a kit that includes the dual charger, a thick, high-quality, high-speed transfer/charge USB-C cable, a spare battery, and a 27W power adapter. While it’s another expense, it’s a clever and welcomed accessory that I’ll be using.

The SL3, similar to the Q3, now comes with an upgraded battery that offers approximately 20% more power. This new battery is recommended for use with the SL3, as using the previous battery will limit video functions that require the extra power. When using the older battery, the camera provides an alert upon powering on, notifying the user that some functions may not be available with the older battery. This limitation could affect the speed and operation of the camera, though it may change over time.

In Japan, I only had one SL3 battery and avoided using my older SL2 batteries. Occasionally, I found myself plugging into my Anker Prime power bank on the streets to quickly pump some juice into the camera. I have to add that the Leica USB-C cable is the best cable I’ve ever used. It’s incredibly well-built, very fast for transferring data and charging, and prevents my devices from overheating. While not an ideal setup, it’s a great option to have, and the move to USB-C keeps everything aligned with modern technology and all my devices.

Use of the CFexpress cards

Halleluiah! The Leica SL3 supports CFexpress cards, and I am excited for this addition. There are several advantage CF Express cards offer over traditional SD cards. Let’s take a look at them.

1. Speed and Performance

CFexpress cards are much faster than SD cards, enabling rapid data transfer and reducing buffer clearing times.

2. Increased Storage Capacity

CFexpress cards have larger storage capacities, allowing you to shoot longer sessions without changing cards frequently.

3. Enhanced Reliability and Durability

CFexpress cards are more robust and reliable, designed to withstand extreme temperatures, shocks, and vibrations.

4. Future-Proofing

Using CFexpress cards ensure compatibility with the latest storage technology, making your Leica SL3 setup future-proof. As camera resolutions and video quality improve, these cards will keep up with the advancements.

5. Efficient Workflow

High-speed data transfer from CFexpress cards to a computer is significantly faster, reducing downtime. This efficiency is crucial for professionals who need to meet tight deadlines and deliver work quickly.

6. Support for High-Resolution and High-Bitrate Files

The Leica SL3 can capture high-resolution stills and high-bitrate video. CFexpress cards handle large data swiftly and reliably, ensuring the camera performs at its best.

CFexpress cards in the Leica SL3 offer speed, performance, storage capacity, reliability, future-proofing, efficient workflow, and support for high-resolution files. These benefits make CFexpress cards the ideal choice for maximising the capabilities of the Leica SL3, and in my case of using ProDigital cards, I had extremely fast transfer to computer speeds.

Scope of delivery

Leica SL3 camera body
Lithium-ion rechargeable battery Leica BP-SCL6
Charger? No longer included
USB-C cable
Camera bayonet cover
Carry strap
Quick Start Guide
CE flyer
Flyer (Leica account)
Test certificate

Areas for improvement

The SL3 is by no means a perfect camera. That is impossible to accomplish given the ever-changing demands of the modern photographer. Having said that, there are a few things I’d like to see improved:

Faster start up/standby/shutdown times
Faster buffer for action sequences - internal storage would be great as a backup
Faster AF with APO SL lenses
Improved Auto WB consistency
Content credentials, though this should be mandatory and ‘aways on’ on every camera, from every brand

Pairing with the Perfect Strap

The perfect strap may not quit exist. How do I know? I’ve owned them all…well that’s me over-exaggerating.

However I have tried my fair share of them. The closest I’ve come to finding the perfect strap has been with Rock N Roll Straps.

I use either their Alcantara SL Black strap or their Rock n Roll SL2 (Special Edition Red Dot) strap.

For more information about these two straps, please visit my article on Rock n Roll Straps HERE.

Pairing with the Perfect Bag

The perfect bag may not exist, but I’ve come across a range that comes pretty close to it, at least for my needs and in most situations. If you haven't yet seen the Wotancraft Pilot series, it’s about time you did.

Though Wotancraft has been around for 14 years, they’re still a new discovery for many, including me. Their reputation for craftsmanship and thoughtful design is well-earned. These bags are clearly made with photographers in mind, offering the functionality we need without drawing unnecessary attention.

Wotancraft describes the Pilot series as ‘designed according to user instincts,’ and I have to agree. It’s one of the few bags I’ve used recently that genuinely feels like it was conceived by people who understand the daily demands of a photographer.

I’ve been using the ‘new’ travel backpack and the ‘upgraded’ 7L travel bag, both of which will be featured in my upcoming review. The Pilot Series stands out with its timeless, minimalist design, combining rugged functionality with an approach that’s refreshingly straightforward. It meets all my compartmentalisation needs without screaming, “camera inside!” This isn’t about luxury; it’s about practicality—something Wotancraft nails with these bags. If you’re carrying the SL3 with some SL lenses, I’d also recommend considering the ‘upgraded’ 10L version which will fit a lot more with only a small increase in size.

The Wotancraft Pilot Series are also available in-store at Leica Stores in Singapore, Malaysia and Australia.

Conclusion

From the original SL to the SL2-S, and now the SL3, my journey with Leica has been remarkable. The SL3 represents a significant leap forward, Its high resolution, exceptional low-light performance, accurate colour rendering, and advanced autofocus make it indispensable for my professional needs, while the robust construction, thoughtful design, and future-proof features ensure long-term reliability and value.

Initially, I was apprehensive about changes like the new shutter sound and touch button main switch, but these features have enhanced the user experience and made the camera more efficient to use. The tiltable LCD screen and third dial greatly improve usability and flexibility, making the SL3 more versatile than any camera I’ve used to date. The move to CF Express cards now provides faster data transfer, increased storage, enhanced reliability, and the inclusion of USB-C charging aligns with modern technology standards - offering a more convenient power management system.

The Leica SL3 represents Leica’s dedication to innovation, quality, and long-term value. It has inspired me to elevate my work and explore new creative possibilities, making it an exciting and essential part of my daily routine. The SL3’s enhancements set new standards for professional cameras, motivating me to take my photography to new heights, and I hope it will inspire you to do the same no matter what camera you have.