While most of the attention in the photography world is focused on full-frame and APS-C products — hardly surprising since those are what most companies focus on — Micro Four Thirds is still one of the best systems on the market.
Olympus was long considered one of the only companies to fully integrate computational features into its cameras. OM Digital Solutions has continued that trend with OM System, while Panasonic has continued to offer video-centric bodies, a trend that began in 2009 with the GH1. To this day, Micro Four Thirds offers things you won’t find in other systems, such as the class-leading in-body image stabilization and LiveND in OM System cameras, or 50 frames per second at a sub-$2500 price point. Nowhere else will you find absolutely tiny 120mm full-frame equivalent macro lenses or 300-1200mm full-frame equivalent zoom lenses.
As a Micro Four Thirds user for well over a decade, I have used almost two dozen Micro Four Thirds bodies and countless Micro Four Thirds lenses. Very few of those lenses I would call bad, a lot of them I would call good, and a good number of them I would call great.
So, we present our list of picks for the best Micro Four Thirds lenses, broken down into several different categories. These choices are based on a variety of considerations, with image quality, versatility, usability, build quality, and price among those considerations.
At a Glance
Best Wide-Angle Zoom Lens: Olympus M.Zuiko Digital ED 8-25mm f/4 Pro
Offering a full-frame equivalent focal length of 16-50mm, the Olympus M.Zuiko Digital ED 8-25mm f/4 Pro is an incredibly versatile lens with a focal range ideally suited to everything from landscapes to street photography to architecture.
Designed with professional use in mind, the 8-25mm f/4 Pro boasts a robust build quality — it is fully weather-sealed, providing dust, splash, and freeze resistance, which makes it exceptionally reliable in harsh weather conditions and challenging environments. This durability, combined with its compact size, makes it an excellent choice for any manner of outdoor photography.
Optically, the lens is stellar — two aspherical elements, a high-refractive index element, a super high-refractive index element, an extra-low dispersion element, a super extra-low dispersion element, and a dual super aspherical element combine to deliver high-resolution images with minimal distortion. The aspherical elements work to reduce chromatic aberrations and enhance overall sharpness, resulting in images that are remarkably consistent both throughout the frame and the lens’s zoom range. The Olympus 8-25 also features a close minimum focusing distance of 9.1 inches, expanding its utility to include a 0.21x maximum magnification (0.42x FF-equivalent).
Like other Olympus and OM System Pro lenses, the 8-25mm features a manual focus clutch, allowing the focus ring to be pulled back to give the user a linear manual focus experience with hard stops at each end. There’s also a programmable L-Fn button, which can be customized to access several different settings.
Should you want something a tad wider or a little faster, the Olympus 7-14mm f/2.8 Pro is a great option, but unlike the 8-25mm, it cannot accept screw-in circular filters due to its bulbous front element. There is also the Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4 ASPH, which can take screw-in filters, but lacks the much more versatile focal range of the 8-25mm — though it is a stop faster at the wide end.
Best Wide-Angle Prime Lens: Panasonic Leica DG Summilux 9mm f/1.7 ASPH
If you desire tiny, fast, and wide, the Panasonic Leica DG Summilux 9mm f/1.7 ASPH does not disappoint. At a scant 130 grams (4.6 ounces) and only two inches in length –and a very reasonable $500 price tag — the Panasonic 9mm f/1.7 offers users a very wide 18mm-equivalent field of view while still managing a fast f/1.7 aperture, autofocus, and a very impressive 0.25x magnification (1:2 FF-equivalent).
Comprised of 12 elements in 9 groups — including two aspherical elements, two extra-low dispersion elements, and one ultra-high refractive index element — this lens is optically stellar. It’s very good corner to corner, even wide open, improving to excellent by f/2.8 to f/4. I took this lens on a trip to Death Valley for some nighttime astrophotography and was pleasantly surprised with its excellent coma performance and low astigmatism, even in the outer periphery of the image. Barrel distortion is present but easily fixable in post (or in-camera if using a Panasonic body), and chromatic aberrations are very well corrected. There’s really just not much to complain about.
If you don’t mind manual focus, there are several great alternatives: Venus Optics Laowa 6mm f/2 Zero-D, Venus Optics Laowa 7.5mm f/2, Venus Optics Laowa 9mm f/2.8 Zero-D, and the Venus Optics Laowa 10mm f/2 Zero-D. Should you desire something even more unique, the Venus Optics Laowa 4mm f/2.8 Fisheye is an excellent (and very cheap) circular fisheye lens, while the Olympus 8mm f/1.8 Fisheye Pro is a diagonal fisheye with truly incredible optical quality and autofocus to boot.
Best Standard Zoom Lens: OM System M.Zuiko Digital ED 12-40mm f/2.8 Pro II
The OM System M.Zuiko Digital ED 12-40mm f/2.8 Pro II is the successor to the highly-regarded Olympus 12-40/2.8 Pro, which was known for its versatility and excellent optical performance.
Weighing 382 grams and measuring 84mm in length, the 12-40mm f/2.8 Pro II is compact and relatively lightweight, considering its wide aperture and range. It offers a full-frame equivalent focal length of 24-80mm, making it a great all-around lens that can handle a diverse set of shooting scenarios.
Optically, the lens maintains a constant f/2.8 aperture throughout its zoom range. The lens construction includes several aspherical elements and high refractive index elements, which help to reduce aberrations and improve overall sharpness and clarity. A ZERO (Zuiko Extra-low Reflection Optical) coating has been applied to reduce lens flare and ghosting for clearer, more contrast-rich imagery.
Autofocus performance is fast and accurate, equipped with an upgraded focusing mechanism that enhances both speed and precision. This makes the lens particularly effective for both stills and video, as it can smoothly and quietly adjust focus, minimizing disruptions during video recording. The manual focus ring features a clutch mechanism, like the Olympus 8-25/4 Pro, that allows the user to easily switch to manual focus with hard stops and linear, repeatable focus.
The 12-40mm f/2.8 Pro II features weather-sealing against dust, splashes, and freezing temperatures, complete with an IP53 certification.
This lens is an outstanding choice for photographers and videographers looking for a high-quality, versatile zoom lens. Its excellent optical quality, constant aperture, quick autofocus capabilities, weather-sealing, and durable construction make it a staple for those who need a dependable lens that performs well in a wide range of conditions and applications.
Alternatively, there is the Panasonic Leica DG Vario-Elmarit 12-35mm f/2.8 ASPH, though it lacks the focus clutch, IP53 certification, and 5mm at the long end. It is, however, a very good lens optically.
Best Standard Prime Lens: Panasonic Leica DG Summilux 25mm f/1.4 II ASPH
The Panasonic Leica DG Summilux 25mm f/1.4 II ASPH is a 50mm full-frame equivalent lens with a fast f/1.4 aperture, making it ideal for portrait, street, and low-light photography. It’s also a great option for general everyday photography.
The lens’s bright f/1.4 maximum aperture allows for superb low-light performance and extensive control over depth of field. The optical design incorporates aspherical elements and uses Panasonic’s Nano Surface Coating to minimize ghosting and flare, enhancing image clarity and contrast even in challenging lighting conditions.
Autofocus performance is swift and accurate, thanks to an updated drive system that ensures quiet operation, making it suitable for both still photography and videography. The lens’s build quality is solid, providing a durable feel with a premium metal finish. Additionally, it has been updated to include weather-sealing, making it more resistant to dust and splashes, thus expanding its usability in less-than-ideal weather conditions.
Weighing approximately 205 grams and measuring just 54.5mm in length, the lens is compact and lightweight, which no doubt enhances its appeal for those who prefer to carry minimal gear while on the move or shooting for extended periods.
If you want something slightly wider with a focal length that approximately equals the diagonal of a Four Thirds sensor — much like a 40-45mm lens does for full-frame sensors — there is the incredible OM System M.Zuiko Digital ED 20mm f/1.4 Pro, which features an incredible IPX1-rated weather-sealed construction, lightning-fast autofocus, edge-to-edge sharpness, and near-apochromatic levels of chromatic aberration control.
Best Telephoto Zoom Lens: OM System M.Zuiko Digital ED 40-150mm f/4 Pro
The OM System M.Zuiko Digital ED 40-150mm f/4 Pro offers a full-frame equivalent focal length of 80-300mm, making it ideal for a range of subjects, including wildlife, sports, portraits, landscapes, street, and event photography. Weighing 382 grams and measuring just over 99mm in length, it is remarkably compact and lightweight for its focal range and speed, which makes it a great travel lens.
The lens maintains a constant f/4 aperture throughout the zoom range, something you don’t typically find in lenses of this focal range. Its optical design includes a series of specialized elements to reduce chromatic aberrations and enhance overall image sharpness and clarity. This construction ensures high-resolution images with excellent color fidelity.
Thanks to a high-speed AF system that operates quietly, autofocus is swift and precise, suitable for both still photography and video recording. The manual focus option is intuitive and easy to adjust, though it does not have the manual focus clutch that many other OM Pro lenses have.
The OM System 40-150mm f/4 Pro’s build quality is robust. Its dust-, splash-, and freeze-proof design ensures reliability in various environmental conditions, and it comes with an IP53 rating.
I got this lens shortly after it was first released, and it remains one of my most used lenses; its versatile focal range and constant f/4 aperture are incredible in such a tiny package. But, perhaps more importantly, the lens is optically outstanding. Images are sharp corner to corner at every focal length, even wide open, and chromatic aberration is essentially non-existent.
If you desire something faster, there is the OM System M.Zuiko Digital ED 40-150mm f/2.8 Pro, though it is considerably larger, heavier, and more expensive. I also feel that the f/4 version is optically superior, though I have not conducted controlled tests to confirm this.
Best Telephoto Prime Lens: Olympus M.Zuiko Digital ED 75mm f/1.8
The Olympus M.Zuiko Digital ED 75mm f/1.8 lens is one of the standout prime lenses in the Micro Four Thirds catalog. It features a rather unusual 150mm full-frame equivalent focal length, which may make it too long for certain uses, but it particularly shines outdoors where you have plenty of room to work. Portraiture may be its most obvious use, but it also excels at street and landscape photography.
Weighing approximately 305 grams and measuring 64mm in diameter by 69mm in length, this lens is quite compact and lightweight for its focal length and aperture. Thanks to its robust metal build and finely textured focus ring, handling the Olympus 75 mm f/1.8 is straightforward. The lens does not feature built-in image stabilization, but given the excellent performance of Olympus and Panasonic IBIS, you probably won’t miss it.
Optically, the Olympus 75mm f/1.8 is renowned for its outstanding sharpness and clarity, even when wide open at f/1.8. The lens construction includes three extra-low dispersion and two high refractive index elements, which minimize chromatic aberrations and ensure superior image quality. Olympus’s ZERO coating performs amazingly to minimize lens flare and ghosting.
This is one of those lenses that I think is among the best ever made — for any system. It is sharp across the frame wide-open, nearly apochromatic, and transmits images with a neutrality and clarity that I absolutely love. It doesn’t imprint any of its own “character,” it simply does exactly what a lens should do. It is one of the real gems of the Micro Four Thirds ecosystem.
Best All-in-One Zoom Lens: OM System M.Zuiko Digital ED 12-100mm f/4 IS Pro
The OM System M.Zuiko Digital ED 12-100mm f/4 IS Pro is an extremely versatile, all-in-one zoom lens with a 24-200mm full-frame equivalent zoom range and a constant f/4 aperture. It weighs 561 grams and measures 77.5mm in diameter by 116.5mm in length, making it relatively compact given its broad zoom range. This lens is highly regarded for its ability to cover a wide range of photography needs, from wide-angle to telephoto, without the need to swap lenses. It is also, I believe, the only 24-200 (equivalent) lens with a constant aperture ever made (excluding non-interchangeable lens cameras like the original Sony RX10).
Optically, the lens includes one double-sided aspherical element, three aspherical elements, and five extra-low dispersion elements that reduce distortion and chromatic aberrations, ensuring sharp, clear images with great color fidelity. Additionally, the lens benefits from Olympus’s ZERO (Zuiko Extra-low Reflection Optical) Coating and Z Coating Nano, which are applied to individual elements to help minimize ghosting and flare and enhance contrast even when shooting in challenging light.
Due to the lens’s high-speed MSC autofocus system, autofocus performance is swift and accurate. It is also notably quiet, making the lens suitable for both still photography and video recording. Like many Olympus/OM System Pro lenses, the 12-100/4 features a manual focus clutch to offer easy access to linear, repeatable focus with hard stops.
Handling the 12-100mm f/4 Pro is excellent, with a sturdy, weather-sealed construction that makes it suitable for use in adverse weather conditions. Its build quality is robust, typical of Olympus’s Pro line, providing a sense of durability and reliability. One of the standout features of this lens is its built-in image stabilization, which, when combined with compatible Olympus camera bodies, offers up to 6.5 stops of compensation with Synchronized IS. This makes it highly effective for handheld shooting, even at longer focal lengths or in low light.
There aren’t any “buts” when it comes to the Olympus 12-100mm f/4 Pro — it is a feature-packed, high-quality lens, ideal for photographers looking for a versatile, all-in-one solution. Its superb optical performance, reliable autofocus, and excellent handling characteristics make it a Swiss Army knife for a wide range of photographic applications.
Best Super-Telephoto Lens: Olympus M.Zuiko Digital ED 100-400mm f/5-6.3 IS or Panasonic Leica DG Vario-Elmar 100-400mm f/4-6.3 II ASPH Power OIS
The Olympus M.Zuiko Digital ED 100-400mm f/5.0-6.3 IS lens is a super-telephoto zoom designed for wildlife and sports photographers that yields an incredible 200-800mm full-frame equivalent zoom range. It weighs 1120 grams and measures 3.4 inches in diameter by 8.1 inches in length.
Optically, the lens incorporates a range of specialized elements to enhance image quality and reduce aberrations. Its aperture range from f/5.0 to f/6.3 across its zoom range means that it requires good lighting conditions or higher ISO settings, but very few comparable zoom lenses offer faster apertures. The lens is equipped with built-in image stabilization, offering up to 3 stops of image stabilization performance, which can be synced with in-body stabilization on an Olympus or OM System body for even more effective stabilization.
Autofocus is more than competent, powered by a high-speed MSC (Movie & Still Compatible) system that is both quick and quiet. In my personal use on an OM System OM-1, the autofocus is fast as hell and easily keeps up with the camera’s 25fps. OM System really should update it to be a “Pro” lens so it could do 50fps on the OM-1 and OM-1 II, as well as give it IP53 weather-sealing.
The build quality is robust, with weather-sealing that makes it dust, splash, and freeze-resistant, allowing its use in challenging environmental conditions. Handling is comfortable, although the lens is on the heavier side, which isn’t surprising given that it is a rebranded Sigma 100-400mm for full-frame sensors. But given the 800mm of (equivalent) reach, it’s nothing that I’m going to complain about.
This lens can be paired with either the Olympus MC-14 1.4x Teleconverter or Olympus MC-20 2x Teleconverter, turning it into a 280-1120mm or 400-1600mm FF-equivalent, respectively.
The Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II ASPH Power OIS offers an identical focal range to the Olympus. It weighs about 985 grams and measures 83mm in diameter by 171.5mm in length, making it slightly lighter and shorter than the Olympus (likely owing to the latter being a rebranded full-frame lens, though the difference is still not huge).
The Panasonic Leica 100-400mm is very sharp throughout the zoom range, with the optical construction including several aspherical and extra-low dispersion elements to correct various optical distortions and aberrations. A nano surface coating further enhances image clarity by reducing flare and ghosting. While I haven’t directly compared it to the Olympus in a controlled test, my use of both lenses hasn’t shown any obvious image quality benefit of one over the other — essentially, ignore image quality and choose based on other criteria, such as synced OIS and IBIS between camera bodies.
Autofocus performance is fast and effective, facilitated by a sophisticated contrast-detection system. Like the Olympus, it can struggle with focus hunting in lower light or at extreme zoom lengths. The lens also features Panasonic’s POWER O.I.S. (Optical Image Stabilization), which is highly effective in reducing camera shake and is a boon for shooting at long distances without a tripod.
The lens’s build quality is excellent, with thorough weather sealing for reliability in adverse conditions. Handling is good, with thoughtful ergonomics and a balanced weight distribution, although I’d still recommend using a monopod for extended use due to its size, zoom range, and additional stability benefits.
Both lenses offer incredible telephoto capabilities and effective stabilization, making either of them ideal for wildlife or sports photography. Which you should get just comes down to the camera body you’ll be using it on — on an Olympus or OM System body, get the Olympus, and on a Panasonic, get the Panasonic. The reason for this is relatively simple: both Olympus and Panasonic can sync the optical image stabilization and the in-body image stabilization to produce the most effective results, but this cannot be done with a Panasonic lens on an Olympus body, or vice versa. There may also be autofocus benefits to matching Panasonic to Panasonic and Olympus to Olympus/OM.
Alternatively, if you want the best of the best and have the cash, the OM System M.Zuiko Digital ED 150-400mm f/4.5 TC1.25X IS Pro is impossible to beat for its image and build quality — the constant f/4.5 aperture is incredible for a zoom lens of this focal range, and the built-in 1.25x teleconverter allows you to turn the lens into a 375-1000mm FF-equivalent with an f/5.6 aperture. It is the best super-telephoto lens in the Micro Four Thirds ecosystem, though its $7,499.99 price tag makes it prohibitively expensive for most users. You can read Chris Nicholl’s review for Petapixel here.
Should you desire more reach, there is also the new OM System 150-600mm f/5-6.3 IS, though it’ll cost you nearly twice the price of either 100-400mm lens and over two pounds in weight. For most people, the Olympus or Panasonic 100-400, perhaps paired with a 1.4x teleconverter, will be the ideal sweet spot.
Best Portrait Lens: Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS
Offering a full-frame equivalent focal length of 85mm, the Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS is perfect for portrait photography, providing flattering compression and the ability to beautifully isolate subjects with its shallow depth-of-field.
The optical construction of the lens includes aspherical elements and extra-low dispersion elements that minimize aberrations and maximize resolution and contrast. Additionally, the application of Panasonic’s Nano Surface Coating significantly reduces ghosting and flare, ensuring that images are clear and sharp even in backlit conditions — something that many portrait photographers might appreciate.
Autofocus performance is fast and silent, courtesy of an internal focusing system driven by a stepping motor. An aperture ring on the lens barrel allows for quick and tactile adjustment of the f-stop, though this will only work when paired with a Panasonic body.
The Nocticron 42.5/1.2’s build quality is robust, with a metal body and a luxurious feel that matches its optical performance. The lens is also equipped with optical image stabilization, which can sync with the in-body image stabilization on a Panasonic body. Weighing approximately 425 grams and measuring around 74mm in length, the lens maintains a relatively compact profile, considering its large aperture and high-quality construction.
The Nocticron 42.5mm’s fast f/1.2 aperture, 85mm FF-equivalent field of view, incredible optical performance, speedy autofocus, and solid build make it a standout choice for those seeking a top-tier portrait lens in the Micro Four Thirds ecosystem.
Alternatives here range from the Nocticron’s nearest competitor — the OM System M.Zuiko Digital ED 45mm f/1.2 Pro — to the excellent (and much more affordable) Sigma 56mm f/1.4 DC DN Contemporary. There is also the Voigtlander Nokton 42.5mm f/0.95, which will give you a little over half a stop on the Nocticron at about half the price, but you would have to be okay with manual focus only.
Best Macro Lens: Olympus M.Zuiko Digital ED 60mm f/2.8 Macro
The Olympus M.Zuiko Digital ED 60mm f/2.8 Macro is not only one of the best macro lenses in the Micro Four Thirds system but also one of the best macro lenses, period. It weighs a scant 185 grams and measures 56mm in diameter by 82mm in length, making it exceptionally lightweight and compact. This lens is beloved by photographers who specialize in macro and detailed product photography for a reason — its lightweight and optical clarity allow it to yield phenomenal images while remaining extremely portable.
Optically, the lens offers a true 1:1 magnification ratio, which allows photographers to capture life-size (17x13mm) images of their subjects. The optical design includes extra-low dispersion (ED) glass, which significantly reduces chromatic aberrations and color fringing, ensuring high-resolution and contrast-rich images across the entire frame. I’d go so far as to call this lens apochromatic — I have never noticed any axial chromatic aberration when using it, which is quite a feat given its diminutive size and very affordable price.
The 60mm Macro’s autofocus system is fast and precise, which is critical for macro photography, where even slight movements can shift the focus significantly. The lens also includes a focus limiter switch that allows users to constrain the focus range for faster performance when working at specific distances. Manual focusing is smooth, offering tactile control for fine adjustments.
The build quality is solid, and the lens is dust- and splash-proof, making it suitable for use in less-than-ideal weather conditions. The handling of this lens is straightforward, with its lightweight making it easy to maneuver and ideal for handheld shooting sessions. Its 120mm equivalent focal length — and large working distance — make it a favorite for insect photographers who don’t want to spook their subjects by getting too close.
There are several great alternative options as well. If you want wider, the Olympus 30mm f/3.5 Macro and Panasonic 30mm f/2.8 Macro ASPH are very affordable and excellent options (and the former offers 1.25x magnification). The OM System M.Zuiko Digital ED 90mm f/3.5 Macro IS Pro is a phenomenal lens and the only 2x (4x FF-equivalent) macro lens with autofocus ever made, though as a result, it is quite large, heavy, and expensive and may be too long for some users. If you want more magnification at a more reasonable price point and are okay with manual focus, the Venus Optics Laowa 50mm f/2.8 APO Macro is hard to beat.
Best Cine Primes for Video: SLR Magic Microprimes
SLR Magic Microprime Cine lenses are my favorite sub-$1000 cine lenses. Unlike some modern cine lenses, these aren’t clinical — they render in a way that reminds me of vintage primes but still manage to be quite sharp, with a very pleasing aesthetic in out-of-focus areas.
SLR Magic offers a variety of focal lengths in the Microprime Cine series for Micro Four Thirds, covering wide-angle to telephoto ranges. Currently, the company offers: 10mm T/2.1, 12mm T/2.8, 17mm T/1.5, 21mm T/1.6, 25mm T/1.5, 35mm T/1.5, and 50mm T/1.4, which cover 20mm to 100mm full-frame equivalents.
Aside from the 10mm and 12mm options, which are T/2.1 and T/2.8, respectively, all of the lenses are T/1.4-1.6, making them excellent for low-light and/or shallow depth of field. Their optical design ensures minimal chromatic aberration and maintains a consistent look across the lineup, which is vital when switching lenses during a shoot. The lenses have a uniform filter size of 82mm and a uniform outer diameter of 85mm, making matte box and filter swapping a cinch. Furthermore, all of the lenses have similar sizes and weights, making them easy to swap out on a gimbal.
The SLR Magic Microprimes offer fully manual focus and iris control, both featuring geared 0.8 MOD rings. This makes them compatible with most follow-focus and gimbal accessories. The build quality is solid, with an all-metal housing that can withstand rigorous use (I can personally attest to this).
SLR Magic Microprime Cine lenses are ideal for indie filmmakers, video content creators, and anyone involved in film production who requires reliable, high-quality lenses that integrate seamlessly into a professional workflow. Their affordability and performance make them particularly appealing to those entering the field of cinematography or working with limited budgets. I have a set comprised of all the focal lengths except the 25mm and used them just a month ago on a film shoot, paired with my Blackmagic Pocket 4K and a DJI RS 3 Pro.
As cine lenses, the SLR Magic Microprimes do not include autofocus or image stabilization. This is typical for cine lenses (though we may soon start seeing more and more autofocus cine lenses). If you want some good autofocus primes for video, look at the Olympus/OM System Pro series of primes. These are fast and optically stellar, and many of them feature the clutch focus mechanism that gives you linear manual control of focus with hard stops, should you need it.
Best Zoom Lenses for Video: Panasonic Leica DG Summilux 10-25mm f/1.7 ASPH and Panasonic Leica DG Summilux 25-50mm f/1.7 ASPH
The Panasonic Leica DG Summilux 10-25mm f/1.7 ASPH is a unique, high-speed zoom lens offering a 20-50mm FF-equivalent range that includes wide-angle to standard focal lengths. It weighs approximately 690 grams and measures 87.6mm in diameter by 128mm in length.
Optically, the lens stands out with its constant f/1.7 maximum aperture, which is exceptionally bright for a zoom lens, providing excellent low-light capabilities and depth of field control. The lens construction includes several aspherical elements and extra-low dispersion glass, which work together to minimize chromatic aberrations and ensure sharp, detailed imagery with high contrast and resolution across the entire zoom range. It also features a nine-blade circular aperture diaphragm for pleasing bokeh balls.
Autofocus is quick and silent. It benefits from a stepping motor that is efficient and ideal for video work, promising smooth focus transitions. Manual focus adjustments are facilitated by a responsive focus clutch mechanism, which further cements its status as a great video lens.
The build quality is excellent, with a rugged, weather-sealed construction that protects against dust, splashes, and cold temperatures. The lens’s handling is robust and balanced, although its size and weight may be considered substantial by some users, particularly for extended handheld use or for use on gimbals with a lower payload capacity. Finally, it has a physical iris control ring, though this ring will only work on Panasonic bodies.
The Panasonic Leica DG Summilux 25-50mm f/1.7 ASPH complements its wider sibling by extending the focal range into medium telephoto lengths while maintaining the same constant f/1.7 aperture. This lens weighs about 654 grams and measures 87.6mm in diameter by 128mm in length, making it the same size and, surprisingly, a bit lighter.
Like the 10-25mm, this lens excels optically with its large aperture. The optical design is equally sophisticated, featuring aspherical and ED elements to control distortions and aberrations, ensuring sharp, clear images with accurate colors and high contrast. This lens also features a rounded nine-blade diaphragm.
Autofocus with this lens is also fast and very quiet, utilizing an advanced stepping motor that is well-suited for both still photography and videography. The manual focus experience is enhanced by the same focus clutch mechanism found in the 10-25mm. The build quality remains high, with thorough weather sealing for reliable operation in adverse conditions.
Both of these lenses were tailor-made with videographers in mind, and if you desire what they offer — autofocus and excellent image quality in a fast-aperture zoom — nothing else on the market can compete.
Image credits: Elements of header photo licensed via Depositphotos.