GEAR + Processing:

• Fujifilm X-T3

• Leica Macro-Elmarit-R 60mm f/2.8

• Urth lens adapter - Leica R lens mount to Fujifilm X camera mount

• Hoya Black Mist diffusion filter

• Processed in Capture One 22

FEATURING …

• Leica SL

• Leica Summicron-R 50mm f/2 II

• Urth lens adapter - Leica R lens mount to Leica L camera mount

• Hyperion camera strap

Featured Cinematic Presets:

Using the Leica SL and the Summicron-R 50mm f/2 II together is like time traveling. Or maybe it’s like attending an inter-generational family reunion, but one that’s elegant and cool and not really like a family reunion at all.

Let me explain.

The Summicron-R 50mm f/2 II was designed for Leica’s R mount cameras, which were Leica’s SLR offerings from 1964 to 2009. The R mount started with the ‘Leicaflex’ (a hint at the reflex mechanism central to the SLR) in 1964. Subsequently, Leica released the SL and SL2 (sound familiar?) before settling into the R nomenclature, starting with the R3 and ending with the R9.

While the R mount was successful enough in its day, it’s been somewhat forgotten in recent years.

Think “Leica”, and the company’s M mount rangefinders are probably at the forefront of your mind. And for good reason. Leica’s M cameras are iconic. They came around a full decade before the R mount, in 1954, and are still going strong today.

Leica kept the M and R lines running in parallel to appease different types of photographers: those that liked the rangefinder shooting experience of the M series and those that preferred the comparably more modern TTL (through the lens) shooting experience of an SLR with the R series.

Leica finally discontinued the relatively analog R mount in 2009 as digital cameras increasingly became the norm. The R mount’s quiet discontinuation coincided with the release of the second digital M rangefinder, the M9. The first digital M, the M8, had released a few years earlier in 2006.

But what about those TTL shooters?

In 2015, Leica released their first Leica L mount mirrorless camera: the Leica SL (Typ 601). For all intents and purposes, the Leica SL is the spiritual successor to the Leica R series of cameras. Just updated with modern amenities like a high-res EVF (electronic viewfinder) and autofocus capability.

And like any good family lineage, the Leica SL takes its namesake from the previous generation. The original ‘SL’ was an acronym for ‘Selective Light’, in reference to the camera’s ability to meter through the lens as opposed to an external meter. The modern SL, like presumably all digital cameras, is capable of metering through the lens, too.

With the proper lens adapter, we can bridge the generational gap, bringing the vintage goodness of the Summicron-R to the modern technical acumen of the SL.

As for the fit, the Summicron-R is a rather small and light lens on the SL, even considering the necessary adapter. Nevertheless, the Summicron-R feels right at home on the SL. The lens is narrow enough to leave plenty of clearance for focusing. Furthermore, the SL’s thick and sturdy grip allows for mechanical precision with the Summicron’s perfect focus ring.

Dreamy.

The Summicron-R looks great on the SL, too. The lens-to-camera visual proportions are pleasing to the eye. The lens, adapter, grip, and EVF hump all seem to line up just right.

For the color look, “Olivine”, I started with a Classic Chrome base. I wanted the colors to stay relatively accurate while taking advantage of the sophisticated colors and punchy contrast that Classic Chrome offers.

The monochrome look, “Element13”, starts with a PRO Neg. Hi base, which has always been one of my favorite color film simulations. It makes for a great monochrome profile, too, due to the high contrast and nice gradations.

Thank you for reading.

GALLERY.

Note: If you’re viewing this on mobile, Mozilla Firefox is the only mobile browser I’ve found that doesn’t heavily compress images and distort colors.