It has been about two years since the formal debut of the L-Mount Alliance and, in that time, we've seen a fledgling mount grow into a well-rounded, three-pronged system. As a refresher, the L-Mount Alliance is a collaboration of sorts between Leica, Panasonic, and Sigma, who are all actively developing mirrorless cameras and lenses using a common lens mount. The brands are still functioning independently, but their resulting efforts are benefitting users with a greater range of camera and lens options. For instance, you might like the stills features of one camera, the video features of another camera, and want to mix and match the zoom lenses from one brand with the fast primes from another. By having more participants in the development mix, L-Mount shooters are given greater variety without the need to resort to adapters or multiple lens systems. Let's check in with each of the three members of the alliance and see what they're bringing to the L-Mount table.
Leica
Leica is the creator of the L lens mount (which is why you'll see the mount referred to as "Leica L" on the B&H site) and has been using it for its entire run of mirrorless, non-rangefinder camera production. It was initially introduced as the T-mount, to coincide with the original T mirrorless camera from 2014, but then Leica switched to the name we now use once the first SL camera was introduced in 2015. Since then, Leica has stuck with the L-mount name and has split camera development into both full-frame and APS-C divisions. The SL2 is its current L-mount flagship and the second generation of its full-frame mirrorless system. This camera takes a very no-holds-barred approach to features and design, especially in comparison to the refined and minimal approach of its M-mount rangefinder system. It has a 47.3MP full-frame sensor, apt video capabilities, and impressive EVF and connectivity specs. If you move to the APS-C tier, Leica splits this sensor size with two options: the more traditional CL and the more modern TL2. The CL is the newer of the two and feels like what you would get if you crossed an M rangefinder with a contemporary mirrorless camera. The TL2, on the other hand, is very futuristic in its intent, with a larger rear screen, fewer buttons, and a svelte one-piece aluminum body design.
In terms of lenses, Leica does exactly what you think it would do and, for the most part, has followed a pretty conservative approach to lens making. For full-frame prime lens options, it has taken a pretty straightforward, but well-rounded, Summicron path, which includes 35mm f/2, 50mm f/2, 75mm f/2, and 90mm f/2 options. All lenses are similarly sized, all are apochromatic, and there is room on the roadmap to expand this lineup to include some wider focal lengths, too. For a bit more speed, Leica also has the Summilux-SL 50mm f/1.4 ASPH. for now, which leaves little room for interpretation about what other lenses Leica might release for the L-mount in the future.
Straying from the norms of what you'd typically associate with Leica, the company has also released its own rendition of a "holy trinity" of zooms, but has made it decidedly its own with slight changes to the usual focal lengths. Comprising the Super-Vario-Elmar-SL 16-35mm f/3.5-4.5 ASPH., the Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH., and the APO-Vario-Elmarit-SL 90-280mm f/2.8-4, this wordy trio of lenses aptly covers everything from ultra-wide to pretty-much-super-telephoto. The lenses tend to be a bit slower and larger than what you'd typically expect from a 16-35, 24-70, and 70-200mm f/2.8 set, but they are Leica glass and are reputed to give you that characteristic Leica look in a versatile zoom package.
Finally, made specifically for the CL and TL-series cameras, or any L-mount camera if you're looking for a compact option and don't mind cropping in on your sensor, there are also a few APS-C lenses: the Vario-Elmar-T 18-56mm f/3.5-5.6 ASPH. standard, the APO-Vario-Elmar-T 55-135mm f/3.5-4.5 ASPH. tele, and the Super-Vario-Elmar-T 11-23mm f/3.5-4.5 ASPH. wide zooms, as well as the Elmarit-TL 18 mm f/2.8 ASPH. wide-angle pancake, the Summicron-T 23mm f/2 ASPH. wide, the APO-Macro-Elmarit-TL 60mm f/2.8 ASPH. short tele, and the Summilux-TL 35mm f/1.4 ASPH. fast normal primes.
Panasonic
I think it's safe to say that Panasonic is the least "niche" of the three brands in the L-Mount Alliance. Whereas Leica and Sigma tend to appeal more toward specialized needs, Panasonic has the more general user in mind. This isn't to say that Panasonic doesn't have a very diversified camera lineup right now (it does), nor that the company isn't making specialized cameras (it is), but it has several models in its lineup that can appeal to a variety of image makers, ranging from the video specialist to the high-resolution photographer to the compact, walkaround, travel-oriented shooter.
Coinciding with the formal introduction of the L-Mount Alliance, Panasonic made its initial announcement of L-mount camera bodies with the S1 series, which included the Lumix DC-S1 and the Lumix DC-S1R. The S1 is positioned as the all-around contender in the lineup and features a modest 24MP full-frame sensor, very capable UHD 4K video, broad sensitivity, speed, and a robust body. The S1R has the same physical assets as the S1, but swaps sensors for a 47.3MP full-frame model, which positions this camera more for the landscape, portraiture, and, generally, still photography crowd. With these two initial entrants, Panasonic then went all-in on video with the Lumix DC-S1H, which, again, sports a similar body design but incorporates a cine-optimized feature set, including 3:2-format 6K24p recording, 16:9 5.9K30p, and both DCI and UHD 4K60p settings with internal 4:2:2 10-bit sampling or external raw recording capabilities.
These three cameras address most of the needs of most image makers, but, recently, Panasonic has launched a new full-frame model with the Lumix DC-S5. One sticking point for many with the S1 series was how large and heavy the camera bodies are; they are sturdy, hefty, and built for professional use, but not necessarily the ideal choice for travel or everyday shooting, where a lighter-weight camera would be preferred. Enter the S5; this camera is relatively much more compact and easier to work with when traveling, and has an all-around feature set with excellent video capabilities and a nice 24.2MP full-frame sensor.
In terms of lenses, Panasonic has, so far, brought a pretty conventional lineup to the table. Focusing mainly on zooms and versatility, its L-mount lens foundation has been all about the lenses people reach for most often. For working photographers, two of the more popular lenses are represented with the Lumix S PRO 24-70mm f/2.8 and the Lumix S PRO 70-200mm f/2.8 O.I.S. If you can scale back to f/4, Panasonic has a nice trio of zooms that includes the Lumix S PRO 16-35mm f/4 wide, Lumix S 24-105mm f/4 Macro O.I.S. normal, and Lumix S PRO 70-200mm f/4 O.I.S. tele options. For those who need speed, there is also the Lumix S PRO 50mm f/1.4 fast normal-length prime and, introduced around the same time as the compact S5, there is also the sleek and unique Lumix S 20-60mm f/3.5-5.6 zoom. Additionally, for 70-200mm users looking for a bit more reach, Panasonic also released the first L-mount teleconverters, with the DMW-STC14 Lumix S 1.4x and DMW-STC20 Lumix S 2x options.
Sigma
The third prong of the L-Mount Alliance is Sigma, which holds a unique spot in the alliance due to its history of camera and lens production. Known more for being a third-party lens manufacturer, with the L-mount, Sigma has been given the chance to make a splash as a native lens maker on a much grander scale than ever before. Despite the fact that Sigma has long been a camera manufacturer, its cameras have typically been reserved for very specialized applications or use cases due to the company's use of a Foveon sensor. As such, Sigma has gained much more attention for its ability to make alternative lens choices for other camera manufacturers, ranging from Canon and Nikon SLRs to Sony E mirrorless, and then also making these lenses available for its own cameras. Now, as part of the L-Mount Alliance, Sigma is prioritizing its own cameras and own lens mount first.
To go along with this change-up in production attitude, Sigma's first camera under the L-Mount Alliance is also quite the change-up from its usual. The fp is Sigma's only digital camera to stray from its preference of using a Foveon design and, instead, uses the much more conventional Bayer array sensor. And beyond just a change in sensor type, it's also unique that Sigma has clearly designed this camera more for the video crowd, compared to all of its previous Foveon cameras (most of which didn't even have video recording capabilities at all). And, to take things even further, Sigma also made sure to make this one of the more unique mirrorless camera options out there by avoiding the use of a mechanical shutter, omitting a hot shoe, removing a right-hand grip, and not having an electronic viewfinder option available. The company has stripped this camera down to let users build it back up however they please, by adding optional grips, an auxiliary hot shoe, a rear loupe for eye-level viewing, and so on. Once you look beyond its idiosyncrasies, though, the fp is an impressively capable tool for video (and even stills, if you want it to be) and shows how the L-Mount Alliance gives brands more room to experiment.
In terms of lenses, there's no surprise that Sigma has been the most prolific of the three brands in production, mainly because the company already had an existing lineup of lenses that could simply be ported over via a simple lens-mount change. The DG HSM series of lenses consists of popular options that gained much acclaim when first introduced for SLR cameras several years ago, and having these options natively available for L-mount means you can easily acquire all your favorite prime focal lengths from the start, ranging from a 14mm f/1.8 to a 135mm f/1.8.
More recently, and more specifically designed for the L-mount, Sigma has also created its DG DN series of lenses, which take into account the shorter flange distance of a mirrorless camera, compared to an SLR camera, and have a more compact and optimized design. Straying a bit from the DG HSM lineup, Sigma has chosen to balance wider aperture designs and more compact lens options to suit different needs. The 35mm f/1.2 DG DN Art hits the fast wide-angle end while the 45mm f/2.8 DG DN Contemporary functions almost like a sleek kit lens, albeit a normal-length prime. There is also the 85mm f/1.4 DG DN Art, which splits the difference and touts a sleek design with a fast f/1.4 maximum aperture. In terms of zooms, Sigma currently offers three: the ultra-wide 14-24mm f/2.8 DG DN Art, the standard 24-70mm f/2.8 DG DN Art, and the tele 100-400mm f/5-6.3 DG DN OS Contemporary. Also, like Panasonic, Sigma has launched a pair of L-mount teleconverters, the TC-1411 1.4x and TC-2011 2x, to give a bit more reach when working with its 100-400mm zoom.
Additionally, it's worth highlighting the APS-C-format L-mount lenses made by Sigma—dubbed DC DN—that, like the Leica T/TL lenses, are perfect for the smaller cameras or as a smaller lens option if you work in crop mode with your full-frame camera. The three lenses in this lineup comprise a perfect trio of fast and sleek lenses that hit wide, normal, and portrait focal lengths: the 16mm f/1.4, 30mm f/1.4, and 56mm f/1.4 DC DN Contemporary lenses.
Third-Party Lenses
It's funny to think of there being "third-party" lenses to a system that's inherently open to three different manufacturers, but there are several manufacturers outside of the official L-Mount Alliance working on bringing unique focal lengths and compact, manual focus options to the L-mount, including the ultra-wide rectilinear Laowa 9mm f/5.6 FF RL from Venus Optics, the 11mm f/2.8 fisheye lens from TTArtisan, the bright and fast 55mm f/1.4 from 7artisans, and some other options from Meike, Kipon, and Meyer-Optik Gorlitz.
After two years, it feels like the L-Mount Alliance has truly found its footing. From my perspective, it has the unique positioning in the camera world as being a bit of an outsider, despite being composed of three powerful camera and lens manufacturers. I appreciate that Leica, Panasonic, and Sigma have chosen to do something a bit different from the norm; it's certainly making for a new and dynamic approach to how a camera system evolves. Time will continue to add depth to the L-mount, as more lenses and cameras are made available, but already it's pretty special to think that Panasonic shooters can natively work with Leica primes, that Leica photographers can fit a compact Sigma zoom to their SL camera, or that Sigma has become a player in the video field and sees more versatility with their cameras than ever before.
I'm excited to see what the next two years bring to the L-Mount Alliance. What are your thoughts on this triad of camera and lens manufacturers? Are you pro L-Mount Alliance? What would you like to see next from these manufacturers? Let us know in the Comments section, below.
0 Comments