This is a review by photographer Kristian Dowling.

For a full review please visit his website HERE

From the original SL to the SL2-S, and now the SL3, my journey with the Leica SL System has been remarkable. When I transitioned from a complete professional Nikon system in addition to the Leica M240, to the Leica SL in 2015, I was apprehensive to say the least. In my video “5 Years, 1 Camera”, I detailed my initial journey with the SL over 5 years of professional use without any issues. Since then, the SL2-S has become my primary tool, being equally as reliable, and offering significant upgrades over the SL, even though I never felt a pressing need for more.

Enter the Leica SL3, the most significant upgrade in the SL series to date. Yes, it’s like hearing Apple say ‘our newest iPhone is the best yet’, but in this case, the SL3 represents a substantial leap forward compared to the incremental improvements from the SL to the SL2 and SL2-S. The advancements in the SL3 are not just incremental; they redefine what I expect from a professional camera system.

So, let’s take a brief look at the basics of the SL3:

• New body that’s smaller and lighter with an additional top dial
• New BIS 60MP sensor, similar to the M11 and Q3 – with RAW capability at 60/36/18MP.
• New tiltable 3.2inch display
• New AF system with phase/subject/contrast detection
• New user interface with new UX
• CF Express Type B and SD card slots
• Dynamic range now 15 stops
• ISO 50-100,000
• New 5-axis IBIS
• New Maestro IV processor
• 769g vs 920g (SL2-S)
• New 8K video recording up to 30fps, 10bit L-log

Every camera I have ever used has had a mechanical on/off switch. I appreciate the tactile feel and the ability to know if the camera is operational just by touch, without having to look at it. You can imagine my surprise when I saw that the main (on/off) switch on the SL3 has been changed from a physical switch to a ‘touch button’— my first thought was, “This is like my iPhone!” Initially, this wasn’t a positive reaction.

However, after spending some time with the camera, I realised a few things:

1. It’s probably best to read the instruction manual for this part.
2. Although you probably won’t need to after reading this.
3. To turn on the camera, press the main switch for 0.1 seconds.
4. To turn off the camera, press the main switch for 1.5 seconds.
5. When the camera is on, instead of waiting for it to go into standby mode (time can be set in menusettings), you can press the main switch for 0.1 seconds to conserve power temporarily.
6. To wake the camera up, press the button for 0.1 seconds.

By putting the camera into standby mode during temporary downtimes, I conserve valuable battery life, extending the camera’s use between battery changes. This feature is a welcome addition, one that wouldn’t have been possible with a mechanical switch. In practice, I find that being mindful and using forced standby significantly prolongs the battery life, often surpassing that of my SL2-S battery. Regarding the use of SL2/SL2-S/Q2 batteries, there is one (current) caveat and a few things to note, but I’ll continue this conversation in the power and battery section.

This was and still is a point of contention for me. When I get used to something I like, I don’t appreciate change. The feel and sound of my camera are small but significant parts of my enjoyment when shooting. The shutter on the SL3 has changed, and so has its sound. It now has a lower pitch tone with a dampened quality. The lower frequency sound gives the impression of being quieter, and it might well be.

Initially, I wasn’t a fan of this change. I’m so used to the sound of the original SL and SL2-S, which were similar, and the new SL3 is very different. However, when I spoke to my colleagues Robin Lowe and Marcus Bell, who are also using the SL3, as well as YouTubers like Bobby Tonelli, Ted Forbes, and Chris Niccolls, they all shared the opinion that it was an improvement. So, I guess I’ll have to adapt!

This change in shutter sound might seem minor, but it underscores a broader point about the tactile and auditory feedback that we, as photographers, rely on. These elements are integral to the shooting experience, forming a connection between the photographer and the tool. While the new shutter sound on the SL3 is different, it’s a reminder that advancements in technology often come with changes that can initially feel uncomfortable but are ultimately for the better.

When I asked Leica why the sound had changed, the reply was simple:

It’s a practical decision driven by necessity, emphasising the balance between maintaining tradition and embracing innovation. The SL3’s quieter, lower-frequency shutter sound is one such evolution. Despite my initial resistance, I’ve come to appreciate its refined tone, which aligns with the camera’s overall advancements. This experience serves as a reminder that sometimes, adapting to change can lead to new appreciations and enhancements in our tools.

The SL3 is now aligned with the Leica M11 and Q3 camera systems, sharing the same button and basic menu layout, and featuring new UX icons that make navigation a breeze. If you appreciate a good iOS or Android update that enhances the user experience, you’ll definitely appreciate the effort Leica has put into the new interface, icons, and menu navigation. There aren’t any drastic changes, so if you’re a current SL2/SL2-S user, you’ll feel right at home. If you’re switching from a different brand, you’ll be pleasantly surprised at how Leica’s ‘Das Wesentliche’ (the essentials) approach makes operation seamless and intuitive.

The new icons, nicknamed ‘Leicons,’ are very clean in design and positioning well thought out, making it easy to find what you need without slowing you down. One cool feature Leica has added, via the Leica Fotos app, is another ‘Leica Look’ colour profile named Eternal. This profile, which embeds into the RAW data, offers a high contrast, high saturation look that makes pictures ‘Instagram-ready.’ While this isn’t my preference, as I prefer flatter images out of the camera for more control in post-processing, it adds another option to the existing Leica Looks in the app: Contemporary, Classic, Blue, Selenium, and Sepia. For those who enjoy minimal fuss and maximum impact straight out of the camera, these profiles are a great addition. However, as someone who prefers to do their colour grading from scratch in Lightroom, I see the value for different shooting styles.

To sum up, the SL3 is fast, though not necessarily much faster than the previous models. It takes about 5 seconds to turn on and be ready to shoot, which I would love to see improve to less than one second. Nonetheless, the enhancements in the SL3 make it a worthy successor in the SL lineup.

Now weighing only 762 grams, down from 920 grams in the SL2-S, the Leica SL3 brings a noticeable improvement. Although the numbers might not suggest a drastic change at first glance, the combination of reduced weight and a smaller footprint significantly enhances the overall handling, especially apparent after a week of use.

Leica has managed to shave off 3mm in height and 5mm in width, and it’s the width reduction that really stands out. In hand, the SL3 feels incredibly comfortable, with the smaller footprint offering a more secure grip in my smallish hands, making it easier to operate with one hand compared to its predecessors. Despite the drop in weight, the camera still feels solid and maintains stability, even when paired with larger SL lenses. This lighter weight is particularly welcome when using M lenses, which now have much better balance.

For those who were hesitant to try the SL2 and SL2-S with M lenses due to their size and weight, the SL3 provides a compelling reason to reconsider. While it doesn’t quite match the compactness of the M or Q series, it is a significant step closer. Moreover, it boasts a much-improved EVF, which is a core feature of the SL System. The Leica SL3 offers a more refined and user-friendly experience, bridging the gap between the larger SL models and the more compact M and Q series. Its improved ergonomics and weight distribution make it a versatile option for those of you looking for a high-performance camera that is both comfortable and capable, and is a home run if you ask me.

To the left of the top plate, where the SL featured a GPS chip and the SL2 and SL2-S had a flat, empty panel, the SL3 now boasts a third rotating dial. For me, this is the most exciting and game-changing enhancement on the SL3 body. You might be wondering what difference an extra dial can make. Well, you’re about to find out.

The wheel can be programmed to control one of four options:

• Magnification (of focus point area)
• Shutter speed
• ISO
•  Exposure Compensation

Guess which one I use? Of course, I use ISO. Why? 

Because it’s what I’ve been wanting since I became a professional photographer and started using professional autofocus cameras, including models like the Nikon F5, Canon EOS 1 and 1N, Nikon D1, D1h, D2h, D2x, D3, D4, and Canon EOS 1D Mark II, III, IV, X – yes, I kid you not. With professional digital cameras, there have always been two dials to control aperture and shutter speed, but ISO was always controlled by holding down an ISO button and turning a dial simultaneously.

So why am I going on about this? Because I am thrilled! Being able to control the aperture, shutter speed, and ISO with the turn of a dial significantly increases my ability to react to exposure and situational changes. This makes me much more efficient in controlling the outcomes when a moment presents itself. I use ISO a little differently. For some understanding, I start with shutter for the desired speed, then aperture to control depth of field, and finally the ISO to marry the two and give me the final exposure I desire. The only caveat is that I need to use my left hand to control it. Nonetheless, it makes shooting far more efficient for me, enabling fast exposure changes when I need to maintain the aperture/shutter settings, and this is something I hope Leica implements into the M-System. They’re close currently, but it’s still a little slow and awkward.

For those of you shooting in auto, you’ll most likely use it to make exposure compensation changes, but I don’t suggest it. Start using manual, learn to control the outcome and consistency will follow.

Much like the Leica Q3, the SL3 is equipped with a tiltable 3.2-inch touchscreen with an impressive 2.33 million dots of resolution. As someone who prefers the traditional viewfinder, I initially didn’t see the appeal of a tiltable screen. However, my perspective changed during a trip to Japan.

In Japan, where people tend to be shy and reserved, I noticed that using the tiltable screen made me appear to be filming rather than taking photographs. This subtle change seemed to make people more comfortable, and they were more likely to step in front of my camera without hesitation. This isn’t about being disrespectful; in Japanese culture, it’s customary to ask for permission when photographing people who are easily recognizable or the main focus of a picture. This cultural sensitivity is something that could be beneficially adopted in other parts of the world, but that’s a discussion for another day.

As for the screen itself, it works exceptionally well, thanks to its robust construction. The screen feels incredibly sturdy, giving me the confidence to adjust it quickly in any situation without worrying about the hinges failing. Leica has assured me that the screen has been tested through several hundred thousand movements, ensuring its durability over many years and under various strenuous conditions. So far, it has proven to be solid and has broadened my somewhat narrow perspective on composition, offering new creative possibilities beyond the traditional viewfinder.

The autofocus in the past two generations of SL cameras has been perfectly adequate for my needs. The focus is fast and accurate in single point, non-continuous, non-tracking situations. It’s highly accurate and comparatively fast in terms of comparative-market performance. However, where the SL, SL2, and SL2-S fell a little short was in continuous focus. They used contrast-based focus, which has proven to be less effective professionally than phase detection systems in other professional cameras – specifically when it comes to tracking.

To be fair, the SL was the first professional mirrorless camera on the market, so it’s understandable. For many use cases, including most of mine, non-continuous focus and pre-focus were all I needed. Thankfully, the SL3 now has not only contrast-based focus but also phase and subject detection for eye, face, body, and animal tracking. From my limited use, it works well—much better than the previous models and a very welcome addition, especially for many of you who may be shooting moving subjects moving towards or away from the camera. Focus tracking isn’t something I personally use often, as I enjoy single focusing, pre-focusing, and manual focusing with M lenses – yeah I’m old school, or maybe just…old.

While we’re on the topic of M lenses, I do have one gripe to get off my chest. The resolution of the electronic viewfinder (EVF), while the same as previous models (5.76MP), drops noticeably when magnifying during manual focus. It feels like the resolution is cropped severely, similar to cropping a digital image. Despite this, I am confident that it will be remedied in a firmware update soon. It’s still clear enough to judge focus, but it feels like a 50% resolution drop compared to the SL2-S, making it a noticeable difference, nonetheless.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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.

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. 

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.

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.

• 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

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 AF with APO SL lenses
• Improved Auto WB consistency
• Internal storage would be great as a backup
• Content credentials, though this should be mandatory and ‘aways on’ on every camera, from every brand

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.

Alcantara SL Strap

The Alcantara strap is crafted from a synthetic material renowned for its luxurious feel, aesthetic appeal, and exceptional durability, often found in high-end automotive interiors. The build quality is impeccable, featuring fine stitching and a central red accent that subtly enhances the strap’s elegance without being overly conspicuous.

As a fellow Leica enthusiast, I particularly appreciate the understated yet sophisticated combination of black and red, a detail that resonates with many of us in the Leica community. The strap’s versatility makes it suitable for both casual and formal occasions, allowing it to seamlessly integrate into various styles and settings. Whether you’re attending a high-profile event or simply enjoying a day out, the Alcantara strap’s blend of luxury and functionality ensures it fits into any situation while looking great. Additionally, the strap offers all-day comfort around the neck or shoulder, adding to the overall experience of using the SL3.

Rock n Roll SL Strap

Traditional leather-linked Rock ‘n’ Roll straps are celebrated for their distinctive style and superior craftsmanship. Made from premium leather, these straps are not only durable but also develop a unique patina over time, adding character with each wear. The linked design ensures a comfortable fit and better airflow, making them ideal for extended use. Often adorned with studs, rivets, or intricate stitching, these straps capture the rebellious spirit of rock ‘n’ roll, offering a bold aesthetic that stands out. Handcrafted by skilled artisans, these camera straps come in a variety of colour options, allowing wearers to choose specific colours and decorative elements to match their personal style.

These straps are versatile, adding a touch of rugged elegance to both casual and formal outfits. Influenced by the rock ‘n’ roll era, they make a bold statement of individuality, blending traditional craftsmanship with modern quality and craftsmanship. Wearing a leather-linked Rock ‘n’ Roll strap is not just about accessorising a camera; it’s about embracing a legacy of rebellion and style.

Both straps like their entire lineup are handmade in Italy by the finest artisans, and are such a perfect complimentary accessories for any Leica user.

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.

For a full review please visit Kristian’s website HERE