Photography News

 

1. What Are Drag Landscapes? 

When you look outside and see the sky's grey and dull you may think your day of landscape shooting is ruined but you're wrong. OK, capturing pin-sharp vistas may be out of the window but you can have a go at drag landscapes. Now, when we say drag we don't mean they're boring! In fact, they are quite the opposite. A drag landscape is about finding a scene with strong lines, pressing the shutter button and as the exposure processes, drag your camera up, down left or right. By doing so, your final landscape will have an abstract or even painting feel to it and you'll be glad to hear that the grey, boring sky is well disguised! The technique also works in harsh contrasty light normally regarded as being no good for photography.

 

2. Flowers As Drag Landscape Subjects

Drag landscapes are something that can work all year round on a variety of subjects but as we mentioned this technique back in March when talking about photographing Daffodils, we thought they'd make the perfect subject.

 

 

3. Drag In One Go

You need to move the camera in one clean, steady movement. Using your arms is a good way to control the movement with freedom or you can use a tripod if you prefer a more structured movement. Make sure you've packed your telephoto zoom lens and if you're venturing quite away from home, don't forget the essentials such as spare batteries and memory cards. 

You can think of drag landscapes a bit like a zoom burst except instead of twisting the lens you're moving the entire camera. You need to find your subject, focus up, then move so your lens is pointing away from it. When you're ready, pan back in and when your subject comes into view hit the shutter button.

Don't stop panning until you're past your subject as your shot won't have the blurry, streaks of lines we want to create if you do. You may have to turn Image Stabilisation off as it will want to create a sharp image and this isn't what we are trying to do.  If you look at the screen and see you have diagonal lines it's because you moved to the side slightly as you moved your arms down which you may like the look of but if you don't, the beauty of digital means you can delete it and just try again. Getting the right exposure can be tricky, we found a 10th or 6th of a sec was just about right but if you do need to slow it down, even more, try fitting a polarising filter.

 

4. Change Direction

Once you have the hang of it try panning in different directions, paying attention to the shapes and lines of the object you're photographing. If your subject's a waterfall, for example, pan up or down following the flow of water. Lines of trees and bright colours such as fields of Poppies and Rapeseed also work well.
 

5. Less Drag

If you want the image to be slightly more recognisable start the exposure and pause before you begin dragging. If your subject doesn't have any hard edges you can create an abstract shot that's more about texture. Dragging your lens in a circular motion rather than in a straight line will further enhance the abstract feeling but it's not something that will work with all subjects. 
 

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The L mount system now offers quite a range of different lenses at very different price levels; some might say quite disparate price levels. From the extremely low cost all the way up to what can only be described as premium lenses, the full gamut is there. Right at the top of the pile are the Leica SL lenses, now added to by the Super-Apo-Summicron-SL 21mm f/2 ASPH, billed by Leica as the widest and fastest 21mm apo lens in the world. The cost is high, so the lens has to have a very special performance to justify itself in a highly competitive market. Let's see how it handles and how the technical tests work out, using the new 60MP Leica SL3 full frame camera body.

 

Leica Super-Apo-Summicron-SL 21mm f/2 ASPH Handling and Features

The lens weighs in at 789g without the hood, and 839g with. The hood is a bayonet fit petal design that is supplied with the lens. It does not have a release catch, nor does it need one as it clicks firmly and precisely into place. Within the bayonet fit for the hood is a conventional 67mm filter thread. Dimensions are 73mm x 105mm, or 102mm x 133mm with the hood fitted. The lens is relatively slim, so it feels surprisingly heavy for its size. Construction is dust and water resistant. The front and rear elements are also water and dirt repellant, thanks to the hydrophobic Leica “Aqua Dura” coating.

 

 

There is a wide manual focus ring that is electronic in operation and very even in its action. However, it is quite firm and possibly could do with being just a tad less so. This is a small point, though and not of huge handling significance. Focusing is down to 21cm or 8.27”, for a maximum magnification of 1:5.3, which is usefully close. The dual synchro drive AF system is fast, accurate and virtually silent. Choosing AF or MF is via the camera menus as there are no other controls on the lens itself.

Optical construction is 14 elements in 11 groups, including 3 aspherical. Most of the elements use custom glass with anomalous partial dispersion.

 

 

The lens has an under-stated feel of quality about it and has no controls to interrupt its simple, smooth lines, apart of course for the manual focusing ring. Apertures are selected via the camera, with a choice of one third stop or half stop intervals. AF/MF selection is also via the camera. This leaves us merely to see the 21mm field of view without hinderance and intrusion from the lens itself, a pure window on the world. There is a certain freedom in this, and the new lens offers an ideal tool for landscape, street photography, events, architecture and photo journalism as well as creative use with other genres.

 

 

Leica Super-Apo-Summicron-SL 21mm f/2 ASPH Performance

Central sharpness is excellent from f/2 right through to f/11, very good at f/16 and good at f/22. The edges are very good from f/2 to f/4, excellent at f/5.6, very good at f/8 and f/11 and softening at f/16 and f/22. This is an excellent performance and images across the frame are crisp.

 

Leica Super-APO-Summicron-SL 21 f/2 ASPH. MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Leica SL3 using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is virtually banished at the centre of the frame and although higher values are recorded at the edges there is little by the way of colour fringing in most images. If necessary, further correction can be made in software.

Distortion is very close to zero, but -0.02% barrel distortion can be measured. This is better than most macro lenses so is indeed a very impressive result with an ultra-wide lens. This makes it ideal for architectural photography.

Bokeh is very smooth and attractive, the out of focus areas showing smooth gradation and enhancing the parts of the image that are in focus.

 

Leica Super-APO-Summicron-SL 21 f/2 ASPH. Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Leica SL3 using Imatest.

 

Flare is well handled, again impressive for an ultra-wide lens, and only the severest lighting shows any sign of artefacts.

Vignetting is also modest and in any event a slight amount of corner darkening can be quite attractive in many images, including darkening blue skies where a polariser for the same purpose can show an uneven effect.

 

Aperture   f/2 -1.4 f/2.8 -1.3 f/4 -1.2 f/5.6 -1.2 f/8 -1.2 f/11 -1.2 f/16 -1.2 f/22 -1.2

 

Leica Super-APO-Summicron-SL 21 f/2 ASPH. Sample Photos Previous Next

 

Leica Super-APO-Summicron-SL 21 f/2 ASPH. Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

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Value For Money

The [AMUK]Leica Super-Apo-Summicron-SL 21mm f/2 ASPH|Leica Super-Apo-Summicron-SL 21mm f/2 ASPH[/AMUK] lens is priced at £4700.00

This is a unique lens in many ways and the alternative prime lenses around 21mm are all priced at such a different level that a VFM assessment in terms of cost just does not work. However, here goes with a selection of L mount lenses:

• [AMUK]Panasonic Lumix 18mm f/1.8|Panasonic Lumix +lens[/AMUK], £799
• [AMUK]Sigma 20mm f/2 DG DN Contemporary|Sigma +lens[/AMUK], £649
• [AMUK]Sigma 20mm f/1.4 DG DN Art|Sigma +lens[/AMUK], £899

Clearly there is a huge difference here, and it is a choice that for most will not be a choice at all. Those who want the unique Leica look and quality will know what their choice is.

 

 

Leica Super-Apo-Summicron-SL 21mm f/2 ASPH Verdict

A truly magnificent 21mm lens that handles superbly and produced exquisite images, the new 21mm is a really attractive proposition. Yes, it is a shame that it costs what it costs, but that is the same dilemma as always with the premium marques. An ultra-wide of 21mm is a wonderful lens in use, with wide interiors, vast sweeping landscapes or even close up street photography all within its remit. Out on the street, getting in close increases the intimacy of the images and the sense that the photographer is involved and not just a distant observer. The handling is also superb, with no distractions from the lens operation itself. Overall, it is a great ergonomic experience and the lens has to be Highly Recommended.

Sigma 50mm f/1.2 DG DN Art Pros

• Excellent sharpness
• Excellent CA control
• Virtually no distortion
• Lovely bokeh
• Modest vignetting
• Close focusing
• Splash and dust resistance
• Fast and silent AF
• Well made
• Low flare
• Great handling

Sigma 50mm f/1.2 DG DN Art Cons

• Price

 

[REVIEW_FOOTER]R_features=4|R_handling=5|R_performance=4.5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – A delightful to use ultra-wide lens with superb results|E_id=8027[/REVIEW_FOOTER]

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