Panasonic's Lumix S 24-105mmF4 (1,299.99) is the first standard zoom in its full-frame mirrorless system. It's an optically stabilized lens (it works in conjunction with in-camera stabilization) with a wide to short telephoto coverage range, a good macro capability, and strong—but not outstanding—optical quality. It's currently the Leica Vario-Elmarit-SL 2490mm f/2.8-4 ASPH, the best-seller standard zoom for L-mount customers. It is an expensive option.
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Standard Zoom
Standard zoom lenses are the 24-105mm and 24-105mm. The 24-105mm has good coverage. It can capture wide angle views at 24mm, and zoom in to take portraits against a blurred background. This is one of two standard zooms that are currently available for L mount cameras. Another option is the 24-90mm F/2.8-4 ASPH. The Leica 24-90mm f/2.8-4 ASPH is available for purchase for around $5,000. This price is typical for Leica customers but it's not for people who are used to buying more common camera systems.
At its narrowest point, the lens measures approximately 4.6x3.3 inches (HD), but telescopes out well if zoomed in beyond 24mm. The lens is finished in matte black with a polycarbonate barrel. Basic white labels are printed on the labels. The filter ring measures 77mm and attaches to the hood via a bayonet. Included are front and rear caps as well as a carry pouch. It weighs in at 1.5 pounds for a 24-105mm lens.
Textured rubber is used to cover both the zoom and manual focus rings. You can mark the zoom ring at 24mm, 35mm, 50mm, 70m, 85m, 85m, and 105mm. The barrel has a lock switch to stop it from slipping out. However, the zoom ring can only be used at 24mm when the lock is engaged.
Other controls allow you to adjust focus (AF/MF), and turn on the optical stabilizer system in the lens. Panasonic L-mount camera models have integrated stabilization. This works with the system inside the lens. However, it is not certain that future L-mount camera models will include the same feature. It's still nice to have it on the lens.
A strong point is close focus. This lens can focus to 11.8 inches which allows for 1:1 macro magnification. It makes the lens a bit more versatile than 24-105mm options for other systems—the one Sony offers is limited to 1:3.2 magnification.
Protected from splashes and dust, the 24-105mm lens is also rated to be used in extreme cold temperatures. The lens' front element has fluorine coating, which repels moisture and grease.
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Image quality
The lens was tested in the laboratory with the 47.3MPS1R. The lens managed to capture 3,209 lines at 24mm F/4, which is a solid score in the high range of Imatest scores. There is a loss of clarity as you near the edges of the frame—details are a little soft as you move off-center, and edges are noticeably soft (2,200 lines) at f/4.
A slight increase in resolution is seen at f/5.6 (3382 lines), thanks to better clarity in the middle and middle parts of the frame. However, edges still feel a little soft (2,347 line). These lines improve to f/8 and cross past 2,750 lines. The lens also shows its best average resolution at 3,397 lines. The lens is still very good at f/11 (33,259 lines), however, diffraction reduces resolution at f/16 (2 876 lines) or f/22 (2 1,169 lines).
The lens has a 50mm focal length of f/4 and 3,134 lines. Performance is almost even from the center to the edges at this zoom. The resolution improves to approximately 3,650 lines at both f/5.6 (about 3,298 lines), before it drops a bit at f/11 (3.298 lines), and more significantly at f/16 (3.023 lines), and f/22 (2.489 lines). At 85mm, resolution is almost identical.
At 105mm, there is a little resolution loss. Imatest averages 2,722 lines at f/4, just slightly less than what it can do with longer focal lengths. The average Imatest line count improves at f/5.6 (2979 lines) and at f/8 (2931 lines), but drops at f/11 (2866 lines), 2564 lines, and 222 (251 lines)
There's some barrel distortion (2.8 percent) visible at the widest angle—you can see its curving effect in the bridge below—but it goes away quickly. The pincushion distortion has not entered the frame and it's now gone 50mm.
When shooting JPGs, in-camera correction removes the vignette. Raw format users will notice dimming in the corners at wide apertures. This is most evident at long focal lengths. This can be corrected by either adjusting the slider or lens profile in your Raw converter.
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Excellent Standard Zoom
The L-mount system isn't young, but for the past few years it's been supported only by Leica—a brand noted for quality, but also for premium prices. This makes the Panasonic Lumix S 24-105mm O.I.S. relatively inexpensive. Panasonic Lumix S 24-105mm F4 Micro O.I.S. is the ideal starter lens.
This lens is a great choice, and it has sharp optics across its entire range. The lens is well built and can be used with any camera in almost all weather conditions. This lens is very versatile. It has a better macro ability than other 24-105mm lenses.
Some compromises are made, especially when it comes down to edge resolution. The Sony FE 24-105mm is not available for purchase, however, it's worth comparing as another version, specifically designed for mirrorless cameras.
The Sony lens is the best 24-105mm we've tested, as it sidesteps some of the pitfalls we see here—it's sharper when zoomed all the way in, and edges are much better at narrow apertures when shooting at 24mm. Although the Panasonic lens has some compromises, it is still an excellent example of standard zoom.
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