In other words, the SL2 is as much about the experience as what it can do.
Well, there’s all that heritage to start with, but Leica itself prefers a more poetic explanation: “Leica cameras are for people who enjoy the journey more than the destination”. The lens mount is Leica’s L bayonet, and perhaps because direct comparisons with Panasonic’s Lumix S1R are inevitable, Leica is keen to stress why the SL2 is different and costs quite a bit more (although the launch price is significantly cheaper than that of the SL back in 2015). The inserts on both the handgrip and main body panels are real leather and, as you’d expect from Leica, the whole fit and finish is flawless with the all-important ‘Made In Germany’ plate on the base. Leica stresses the point that, when it says “all metal”, it means “all-metal” – there’s absolutely no fiberglass in the SL2’s construction. The handgrip has been reshaped and the rear panel control layout completely redesigned so the ergonomics are much nicer. It’s also in the interests of strength and durability that Leica has stuck with a fixed monitor screen which, says the company, was “a conscious decision”, although a tilting panel was apparently in the original design brief. There’s also insulation to enable shooting in sub-zero temperatures. The chassis is machined magnesium alloy, and the weather sealing has been beefed-up to IP54 standard which means the SL2 can get wetter for longer.
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