Panasonic Lumix G X Vario 12-35mm f/2.8 lens review

What is the single biggest factor in creating quality images with your camera? Is it how many megapixels you have? How about image stabilisation? What about a sturdy carbon-fiber tripod? Or is it holding your breath while taking the photo?

Not surprisingly, it's none of those. Although you'd be forgiven for thinking it wasn't at least one of the above, considering the marketing hype these features get (ok, maybe not the last one). Instead, what will any seasoned photographer worth their salt (excuse the pun) tell you to invest in before buying the latest camera body? It's glass - of course.

Lake Pearson, Canterbury. Lumix G X Vario 12-35mm f/2.8.  f/6.3 @ 1/250th, ISO 200

Good glass - top quality optics, will dictate more than anything else, the quality of your final images. A pro-level camera body with a cheap plastic lens will struggle all day against a basic camera body paired with a pro optic. And it really is a difference you can tell when looking at your photos. Camera bodies will come and go - that's a given. But good glass - quality lenses - will hold their value, and probably last a lifetime if looked after.

And in terms of a quality optic for the micro four thirds system, they don't come much better than the Panasonic Lumix G X Vario 12-35mm f/2.8 Asph with Power O.I.S.

If you are a travel, documentary or wedding photographer, this is quite simply a must-have lens. Period. The 12-35mm zoom range, at a constant and bright f/2.8, relates to the 'classic' 24-70mm f2.8 lens that has a place in every professional photographers' camera bag. This covers wide angle to standard telephoto; ideal for landscapes and portraits - and everything in-between.

Because it is part of Panasonic's premium 'X' range of lenses, designed for professional use, it features solid metal construction (with a little plastic and rubber thrown in to save some weight) and rugged weather-sealing. This gives the lens a solid heft, without being too heavy. At 305 grams and 73.8mm in height (extending out to around 94mm when zoomed out), it's a compact design, although it's probably more at home on an Olympus E-M1 or Panasonic GH4 than on an Olympus Pen or Panasonic GX80.

The lens is constructed of 14 elements in 9 groups, and includes 4 aspherical lenses, 1 UED and 1 UHR lens to minimise aberrations and ensure superb resolution. This is also helped by a special nano surface coating on the lenses to help reduce ghosting and flare. That's a lot of optical 'tech' in one lens. But what it means 'in reality' is superb image quality. And that's what really matters.

The  G X Vario 12-35mm f2.8 also features Panasonic's Power O.I.S (optical image stabilisation), although I have this turned off on the lens in preference for the in-body image stabilsation of my E-M1. If, however, you have one of the latest Panasonic bodies, I do believe this lens can take advantage of dual-I.S. - meaning the lens and camera stabilisation will work together for super-power image stabilisation! Apparently.

Cobden Estuary. OM-D E-M1 with Lumix 12-35mm f/2.8 X.  f/5.6 @ 1/500th, ISO 200

It's no secret that I sold all my other micro four thirds lenses (bar one) to purchase this lens to pair with my OM-D E-M1. That's called 'putting your money where your mouth is'. Yes, the quality of the glass you put on the front of your camera really does make all the difference. Why didn't I get the Olympus 12-40mm f2.8 Pro instead? Simple - economics. I found the Lumix 12-35mm f2.8 at an amazingly good price (second hand), while the Olympus was a little more expensive. I have owned the 12-40mm before, and it's an outstandingly good lens. But optically, I'm pretty sure there wouldn't be much between the two.

Having now got the Lumix 12-35mm f2.8, I also needed to do my own testing with the lens - to establish the optimal settings for my use-case (namely landscape photography). To do this, I simply take the camera out, and shoot with it! No test charts, no brick walls, no controlled studio environments. I actually take the lens outside and test it by taking photos, and then looking at them to see what I think. Revolutionary - I know.

100% crops of the 'Cobden Estuary' image above.

The resulting images aren't beautiful portfolio worthy landscape shots. But they serve a purpose. To get the shots I needed, I placed the camera on a tripod, set the lens to its widest 12mm (24mm in full-frame terms), let the camera autofocus half-way into the scene, and then went through the full aperture range. Easy.

In doing so, what have I determined is my 'optimal' f/stop when using the Lumix G X vario 12-35mm on my Olympus OM-D E-M1? It may be hard (or impossible) to tell from the crops shown above, but it looks to me like somewhere between f/5.6 to f/8 is the lenses sharpest setting across the entire image. Actually, a very close inspection in Lightroom of the full range of f/stops would suggest that f/7.1 gives me ultimate image sharpness.

Seems like an odd f-number for ultimate sharpness, but there you have it. In fact, somewhere in the deep, dark recesses of my mind I seem to recall watching a Youtube video where another landscape photographer who uses an E-M1 Mk2 said that f/7.1 on his Olympus lens gave ultimate sharpness as well. Might be an Olympus camera thing?

Across the Estuary to Greymouth.  E-M1 with Lumix 12-35mm f2.8 X. f/5.6 @ 1/320th, ISO 200

Oddly enough, I've been shooting a lot at f/6.3 lately - also for no apparent reason - and getting very sharp images. I just need to bump that up one-third of an f-stop, to f/7.1, and I'm there - optimal sharpness.

Just for laughs, I also had a close look at how these apertures performed at infinity, by shooting out towards the Greymouth wharf - focusing again half-way into the scene. And once again, same result. Between f/5.6 and f/8 (so that would be f/7.1) was the sharpest.

This is probably also hard to see from this image on the blog - you'll just have to take my word for it. What I would say, from testing all apertures at 12mm, is that central sharpness is good at f/2.8 - best at f/7.1 - and then begins to fall back to just good again by f/11. The very high f-stops of f/16 to f/22 are to be avoided at all costs - and aren't necessary with micro four thirds anyway due to the extra depth of field achieved with the smaller sensor. 

I would also note, zooming in to the buildings in the distance at 12mm, that there is a tiny amount of barrel distortion noticeable. Not surprising at the widest end of the lens, and probably something that would get corrected automatically on a Panasonic body (but not on an Olympus). It's easily fixed in Lightroom, and I didn't even notice it until I zoomed right in and pixel peeped. But certainly something to be aware of if you are also going to use this lens on your Olympus camera body that won't automatically correct the distortion.

Ultimate sharpness? E-M1 with Lumix 12-35mm @ f/5.6

Finally, a word about using this lens for video. Dunno. I'm not a video guy. I will use this lens 99.99% of the time for stills shooting. Sorry.

But... from what I've seen on-line, and read in reviews, this lens is also considered a must-have for shooting video in the Panasonic eco-system. So if you are looking at this lens for video work, you won't be disappointed (by all accounts). 

So, do I recommend the Panasonic Lumix G X Vario 12-35mm f/2.8 Asp lens if you are a micro four thirds user? You're damn tootin' I do! It's a superb lens, in practically all respects, and just might be the only lens you will ever need? It's certainly worth looking at on the used market, where a mark 1 version of this lens (which is the one I have) goes for around $500.00NZ. That's crazy good value for a lens that sells for $1500.00NZ new (for the mark 2 version).

The difference between the mark 1 and the mark 2? The mark 2 is now 'freeze-proof' rated to -10, while the mark 1 isn't. And there is a slight O.I.S. update in the mark 2 as well. Other than that, and a re-designed look (all black in the mark 2 as opposed the black and grey on the mark 1), they are optically the same. If you have the money and want the reassurance of a warranty, then obviously opt for the mark 2. But, if you're on a budget, a good used mark 1 is the way to go.

If you have only ever used a mid-range kit lens on your camera, whatever system you shoot with, then you should seriously consider 'upgrading' to a pro-level lens. Forget about that new camera body that's just been released. You really don't need an extra 2 megapixels. Invest, instead, in glass. And then you will really notice an improvement in your images. Guaranteed.

The Panasonic Lumix G X Vario 12-35mm f2.8 Asph is an easy 4.5 out of 5 stars on my Olympus OM-D E-M1. Pair it with a Panasonic GH5 and it would be hard not to give it a perfect 5. Just get one already!