English (UK)We caught up with a range of photographers, all using the Leica SL-System to tell their stories. From portraits, landscapes, street, fashion, architecture and more, discover which SL-Lenses they choose for their many photographic adventures.
Now is your chance to experience the ground-breaking SL2 and the unlimited potential of the SL-Lenses with our SL2 Customised Bundle.
Romain Laffitte
Camera: SL2
Lens: APO-Summicron-SL 75mm f/2 ASPH.
“As soon as I picked up the SL2, I was immediately seduced by the reactiveness of the camera and how easy it was to use. This camera adapts so well in all photographic situations. I decided to purchase the 75mm lens and I’m so glad that I did. The lens is fantastic and the visual quality it produces has allowed me to exploit all aspects of what I want to show in any situation. I love using it to introduce a hazy feel to my landscape backgrounds, elevating the details of my subjects.”
Antone Sharkas
Camera: SL Typ 601
Lens: Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“I’m a medical doctor and photography is how I destress. I actually started photography as my grandmother can’t leave her home and I wanted to show her the outside world and the everyday stories that occur. I love my Leica SL because it’s so solid and robust and I pair this with the 24-90mm lens where the zoom works like a charm. It allows me to play with varied focal lengths and tell the varied stories of the people I come across on my photographic adventures in Palestine.”
Jean-Christophe Berthalon
Camera: SL Typ 601
Lens: Summilux-SL 50mm f/1.4 ASPH.
“I mainly shoot in black-and-white and take a lot of portraits of my beautiful wife – that’s why the 50mm lens is perfect for me. There’s something about black-and-white photography that is timeless. Plus, without the distraction of colour, our focus goes to the essential elements of the photograph. Owning a Leica SL was my dream and this camera works just like a black-and-white photograph – simple and essential (no useless buttons or tricks).”
Ilan Derech
Camera: SL Typ 601
Lens: Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“I love the SL because it became a part of me. It’s so simple that my mind only concentrates on what matters, which is taking the shot. One of the most important points for me when choosing a camera are the colours it renders, and the SL achieves exactly what I look for – a huge range of tones with an organic look. These shots are part of a personal lifelong project which began four years ago in a constant search to meet different cultures, learn from them and portray their beauty through my camera and lens. And I only wanted one camera and one lens to do this. That’s why, for me, the 24-90mm suits me best.”
Tom Martienssen
Camera: SL2
Lens: Super-Vario-Elmar-SL 16-35mm f/3.5-4.5 ASPH. & Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“Ocean Racing Yachts kill cameras. Saltwater constantly spraying over the deck, sails being thrown around, equipment thrown into different places to move the weight and make the boat faster. You’re falling over, slipping, and trying desperately to not get in the way of the racers. It’s extreme. I’ve shot on these boats a lot; any normal camera has to be in a scuba housing to survive. The SL2 is different. The body and the Vario lenses are bombproof! One hand holding the camera, and one holding myself on to the boat, I was still able to slow the shutter enough to get a sense of the speed but react quickly enough to get a pin-sharp look at their expressions from a perspective I’ve not been able to get before. The 16-35mm and 24-90mm are the first zoom lenses I’ve used that come close to primes, and they’re pin-sharp whilst drenched in saltwater.”
Miguel Melo
Camera: SL Typ 601
Lens: Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“Having an engineering background, I tend to gravitate towards more practical things and the Leica SL fits my needs perfectly. It has a gigantic, gorgeous viewfinder; great balance and ergonomics, the exact number of buttons and dials one needs to adjust exposure, the extremely useful top LCD, fast burst rates, dual cards slots, and all that while being one of the most beautiful and iconic (modern) cameras ever made. My photography spans from street to documentary and I enjoy the enormous responsibility of capturing current events in the most accurate way possible. The SL and 24-90mm lens enable me to focus on a story or event without having to dig into menus and settings – everything just works as I want to and while also producing images that barely need any editing.”
Peter Lowe
Camera: SL2
Lens: APO-Summicron-SL 50mm f/2 ASPH. & APO-Summicron-SL 90mm f/2 ASPH.
“Leica all the way. It’s as simple as that. Photography is very much a hobby for me, but a very passionate hobby. I shoot a lot of fashion photography, which means working with the SL2 is a delight. It’s very flexible and works in all conditions such as low light (which is often the case backstage). The 50mm and 90mm with their F2 aperture are precise, small and discreet. Plus, the image stabilisation in the SL2 allows for slow speeds with very sharp results. Studio work is a breeze.”
Les Forrester
Camera: SL Typ 601
Lens: Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“My love for architecture is about visual art – our interpretation of a building. And it’s not all about construction, it’s about shapes, angles, light and shadows. The 24-90mm probably isn’t the most popular go-to lens for architecture or landscape photography. Indeed, most of my work is shot within the 24mm-35mm range. However, at times I need that extra focal length and knowing it’s there allows me to be flexible when shooting. Overall, working with this camera and lens give me excellent results in both detail and sharpness – it’s an absolute joy.”
Paul Raeside
Camera: SL2
Lenses: Super-Vario-Elmar-SL 16-35mm f/3.5-4.5 ASPH., Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH.
“For me, the SL2 is a beautiful camera and reminds me of Dieter Rams, which is a great start. I actually traded all my camera gear in and bought the SL2 and two matching zoom SL-Lenses so that I would never have to change lenses again. These being the 16-35mm and 24-90mm. For me, there is nothing like a Leica lens and I am embarrassed at the bending and distortion of other big label lenses. The cameras from Leica suit my style of shooting and have freed me up to be, not more adventurous, but freer in my attitude. Although most of my clients do not necessarily know what a Leica means, they can tell that it’s something special and funnily enough, I even dress better when I’m shooting with it. I have never seen anything so appropriate and elegant, which perfectly matches the interior spaces I work in. These lenses are astonishing.”
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