It’s customizable to the nth degree, and it’s easy to assign new functions to the buttons as you go along, too. This approach does mean, however, that you’ll need the patience to set it up to your liking in the first place, and a good memory for the functions you’ve assigned to the various buttons and dials.
It’s a nice camera to use, if heavy, and the info display panel on the top plate is a welcome feature when so many mirrorless camera makers don’t bother with these any more. The 5.76m-dot EVF may not have the very highest resolution on the market, but it’s clear and sharp and easily good enough. The rear screen is slightly disappointing. It has a tilt mechanism only, not a vari-angle pivot, and in our tests it just wasn’t bright enough for easy viewing outdoors, even with the brightness pushed up to maximum.
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(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
I tested the SL3-S with the Leica Summilux-SL50mm f/1.4, and between them, the combo produced images of exceptional clarity and definition for a 24MP camera. The dynamic range seems about average for a camera of this type, but the JPEGs have very good tonal range from shadows to highlights, and at ISO 6400 (and beyond) noise levels are remarkably low.
The autofocus performance seemed pretty good when tracking humans and animals for video, though this isn’t really a run-and-gun camera, and it’s probably a little heavy for a gimbal too. It’s probably fair to consider this a filmmaking tool, not a vlogging camera.
The stabilization is only rated at five stops but seems to deliver its claimed maximum reliably, which you can’t always say for other cameras. This provides a very steady platform for handheld static shots, and can even cope with careful camera movements and walking-while-filming, though the results can soon get a little ‘choppy’.
Overall, the SL3-S is very expensive if you consider its specifications alone, but what you are also buying is quality – not just in the camera’s build and finish, but in the thought that’s gone into its control layout and interface. The results, too, are absolutely first rate. The Leica SL3-S is truly a class act in every sense.
Leica SL3-S: price and release date
Leica SL3-S body only: $5,295 / £4,500 / AU$8,990 Leica SL lenses start from around $2,195 / £1,850 / AU$3,490 On sale now
The Leica SL3-S is undeniably expensive, costing almost three times as much as the Panasonic Lumix S5 II / S5 IIx, which many would say it’s based on. Despite the technical similarities, however, this is a very different camera physically, with all the build quality and design finesse that you would expect for the brand. Also, this is by no means the most expensive full-frame mirrorless camera on the market; there are several which cost a good deal more, albeit with higher or more specialized specifications.
The overall cost of ownership of the SL system is perhaps not quite as high as many might expect, either. Leica’s own SL lenses are more expensive than similarly specced alternatives from other brands, but still in the same ballpark – and not as terrifyingly expensive as some M-mount optics, either. And you can, of course, use any Sigma or Panasonic L-mount optics – though anyone prepared to invest in the SL3-S would probably prefer to stick to Leica SL glassware.
Leica SL3-S: specifications
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Sensor:
24MP full-frame BSI CMOS
ISO range:
50-200,000, 400-100,000 in L-Log
Autofocus:
Hybrid AF, 779-point phase-detect, 315-point contrast AF, depth map, subject recognition
Stabilization:
5-axis IBIS
Video:
6K open gate, 4K 30p, 4K 60p with crop
Cont. shooting:
30fps with AF-C (12-bit raw not 14-bit)
Viewfinder:
5.76m-dot EVF, 0.76x magnification
LCD:
3.2-inch tilting, 2.33m-dot
Storage:
CFexpress Type B, SD UHS II
Battery:
Leica BP-SCL6, 315 shots (CIPA)
Weight:
768g (without battery, memory card or body cap)
Dimensions:
141.2 x 108 x 82.7mm
Leica SL3-S: design and handling
All-metal magnesium and aluminum body, synthetic leather cover IP54 weather sealing Tilting rear screen
The Leica SL3-S’s physical controls are minimalist in the extreme. Apart from three buttons on the back, none of the control dials or function buttons are labelled. You can make up your own control layout! (Image credit: Rod Lawton)
The menu system is superb. One press of the Menu button displays a quick settings screen and a second press displays the full menu system. Leica has a knack of making every camera feature quickly accessible (Image credit: Rod Lawton)
The first thing you notice about the Leica SL3-S is the simplicity of its external design and controls. On the back there are buttons marked Play, Fn and Menu, but beyond that every other control is unmarked, and can be set to any function you choose. These include two large control dials on the top, a thumb dial on the back and five function buttons on the front, top and back of the camera. There’s also a joystick for AF point selection, menu navigation and more.
Customization is super-easy. A long press on a function button brings up a menu where you can change the assigned function to something else. It’s a clever and efficient bit of interface design that’s typical of Leica, although it might not suit everyone. Some will prefer labelled buttons and dials that have a definite function, even if you can’t change them, to having to remember how you set the various buttons up.
Also, given that this is a hybrid camera where you need to be definite about whether you’re in stills and video mode, wouldn’t it have been better to have a clearly labelled switch for that? An unmarked function button hardly seems adequate.
The tilting rear touchscreen is fine for indoor use, but can be hard to see outdoors, even with the brightness turned up to maximum (Image credit: Rod Lawton)
The status LCD on the top plate is a major bonus, allowing you to see key camera and exposure settings at a glance (Image credit: Rod Lawton)
The SL3-S offers two card slots, one for CFexpress Type B and one for SD UHS II cards (Image credit: Rod Lawton)
Another issue I had during testing was that I was constantly finding the focus point was somewhere other than where I left it – a common issue with touchscreens, of course – and on one occasion I found the focus area type had changed, and I don’t know why. I also found the zoom magnifier activating randomly while the shutter release was half-pressed, and I never could figure out what I was pressing to make that happen. All this is user error, of course, but it’s just a pity that the SL3-S design, beautiful as it is, leaves so many opportunities for such mistakes.
The 5.76m-dot EVF is excellent, but the 2.33m-dot rear screen less so. Even at full brightness it’s not always easy to see clearly for outdoor shooting. For video, you might have to rely more on the EVF than you would like – though of course for any kind of serious filmmaking you would quite likely have the SL3-S rigged up with an external monitor anyway.
Design and handling score: 4/5
Leica SL3-S: performance
Superb stills quality Great high-ISO performance Excellent JPEGs Highly effective stabilization Good AF tracking, though not the best
The SL3-S’s single-shot autofocus is fast and effective, even when shooting wide open at f/1.4 – the depth of field here was razor-thin (Image credit: Rod Lawton)
This image was shot at ISO 16,000 and the quality is holding up extremely well, with perfectly acceptable noise levels and good fine detail. A little lower down the ISO scale at ISO 6,400, the image quality is remarkable (Image credit: Rod Lawton)
Leica SL lenses are more expensive than Panasonic or Sigma L-mount alternatives, but all the ones I’ve tried have been optically superb. This was taken with the Leica Summilux-SL50mm f/1.4 supplied for this review (Image credit: Rod Lawton)
This image shows the kind of spatial depth you can achieve with a full-frame camera and a fast prime lens. I didn’t need to shoot this scene at f/1.4, but doing so has separated the trees in the middle distance from a beautifully blurred foreground and background. (Image credit: Rod Lawton)
You might argue that the SL3-S is ‘only’ a 24MP camera, but it produces the crispest, clearest images you’re ever likely to see from a camera with this resolution. Part of the credit undoubtedly has to go to the 50mm f/1.4 Summilux lens Leica provided for this review – this is a massive lens for a 50mm f/1.4, but it’s spectacularly sharp and aberration-free, and from edge to edge too. This is a lens you can confidently use wide open at f/1.4 without any hesitation.
The JPEGs from the SL3-S are very nice indeed. The camera achieves an excellent tonal range right into darker areas without seeming to sacrifice any midtone contrast. You can get blown highlights in JPEGs from overexposed skies, but you can recover highlight detail from the raw files, of course – though the SL3-S’s raw dynamic range seems no better or worse than that of rival cameras.
High-ISO performance is excellent. I shot a series of low-light interiors at ISO 6,400 expecting to see some significant deterioration in image quality, but the images looked really, really good. I should have set the ISO a lot higher!
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(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
(Image credit: Rod Lawton)
I was impressed by the IBIS too. Leica only claims five stops of compensation, but I think you probably get all of this pretty reliably, so this is perhaps Leica just being conservative. I’ve used plenty of other brands that claim higher levels of shake compensation but simply don’t deliver it.
Some have remarked that the SL3-S’s AF tracking isn’t quite as good as that of the Lumix S5 II/S5 IIx, but I couldn’t see any obvious weaknesses in my testing with human face / eye tracking, and the animal tracking, even though it’s still only in beta, was extremely good at keeping up with my feisty young terrier on a beach walk. Of course, it’s one thing the AF system knowing what it should be focusing on, but it will also depend on your lenses having fast enough AF actuators to keep up.
I honestly think, though, that if you’re into fast and immersive POV filming, this isn’t the kind of camera you would choose; the SL3-S will be much more at home on a tripod for more staged video productions.
Leica SL3-S: testing scorecard
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Price:
The SL3-S is expensive compared to similarly-specced rivals, but you’re not just buying technology; you’re buying design and quality too.
3/5
Design:
The SL3-S’s minimalist control layout is infinitely customizable and remarkably quick and efficient to use, though it does demand a good memory for control settings.
4/5
Performance:
The image quality from the SL3-S is quite superb, helped along by excellent Leica SL glassware for our review and extremely good high-ISO performance.
5/5
Should I buy the Leica SL3-S?
(Image credit: Rod Lawton)
Buy it if…
Don’t buy it if…
(Image credit: Rod Lawton)
How I tested the Leica SL3-S
I had a one week SL3-S loan from Leica It was sent along with the Leica Summilux-SL 50mm f/1.4 ASPH lens I made photos and videos of various subjects, including animals and landscapes
I was able to use the Leica SL3-S for a few days to shoot a variety of subjects. For one shoot I chose a country walk via a yachting marina, and for another I took the SL3-S to a country estate to check out its low-light capabilities for interior shots. I also took it on an urban architecture expedition to get an idea of its dynamic range and detail rendition.
I tested its video capabilities too, particularly its stabilization and autofocus tracking, with a dog-walk on a windy beach. The aim was to find out how well the stabilization worked for static handheld shots and also a walking run-and-gun style. My pet dog was a big help in testing the AF tracking performance, including Leica’s animal tracking AF system, which is still in beta.
In particular, I wanted to try the SL3-S in shooting conditions that required a variety of settings changes, often from one shot to the next, to get a proper idea of how the Leica’s innovative control system actually worked in the field.
