Sharpness is helped by even higher contrast than most other Panasonic kit lenses. Actual resolution is reliably high in the centre at all settings, but, when shooting at or near infinity, it falls away in the corners, and is also increasingly lost at the sides of the image from around 40mm. When it comes to the long end, 120mm on the Leica and 200mm on the Olympus, both give us more range than many are used to. Or maybe I should say, what I’m used to. I’m guessing the reason Panasonic created this lens was the extreme popularity of something similar from both Nikon and Canon. Nikon has proven that when done right, meaning very good optics, this lens range 24-120mm is a great all around travel choice. Olympus took this to another level and is the only manufacturer that I know of that’s attempted such a long range (200mm) in one lens. I use the Lumix 12-60 on a GX8 and have been very pleased with it. Of the many Panasonic bodies and lenses I have use since 2009 I get the most consistently sharp photos with this set. I don't know how much is the optics and how much the stabilization, but something about it really works for me. The Panasonic Lumix 12-60 mm f/3.5-5.6 ASPH POWER OIS has it all. With that, the lens selection for micro-43 cameras is practically just as complete (although I’m still missing a tilt-shift) as the lens selection for SLR cameras. Panasonic Lumix G 12-60 mm f/3.5-5.6 ASPH POWER OIS list price: 450 euros.

I only have two zooms . One for wide angle and one for telephoto when it is often not possible to move closer or farther to your subject I had done a research on the 3 lenses I have interest, the PL 12-60, the P 12-60 and the OMDS 12-100. As per OpticalLimits, they are compared as below:

Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Asph Power OIS: Image quality

The bokeh of the lens is perhaps slightly fussy, but it is not surprising with just 7 diaphragm blades. It is certainly not unpleasant and the slightly softer telephoto images will lens themselves well to giving pleasing out of focus areas. This could be where the portrait photographers will find some highly effective effects. Covering a focusing distance from ultra-wide angle to super telephoto, this new LEICA DG VARIO-ELMARIT F2.8-4.0 Series achieves exceptionally high descriptiveness for both photo and video recording, and yet its size is kept compact. All of the lenses in this series feature a 9-blade diaphragm to give the aperture a rounded shape that produces an attractively smooth effect in out-of-focus areas when shooting at larger aperture settings. All lenses also take advantage of Panasonic's Nano Surface Coating technology to minimize ghosts and flaring. They boast a rugged, dust/splash-proof design and are even freeze-proof down to -10°C to withstand professional use under harsh conditions. The high-quality video recording capability is also one of the advantages of this lens series. There are no buttons on the lens. You switch between AF and manual focusing or turn the image stabilization on/off on the camera. This zoom lens does not have a fixed length like the 12-35 mm f/2.8. When you zoom in, the zoom lens becomes 3 cm longer. A flower-shaped lens hood is included. The unique thing about the Panasonic 12-60 mm kit lens, if we don’t consider the real 14-140 mm superzooms, is the longest focal length. A focal length of 60 mm on a micro-43 camera corresponds as far as field of view is concerned with 80 mm on a camera with an APS-C sensor (and a crop of ~1.5x) or a 120 mm on a camera with a full-frame sensor. That is a great focal length for a close-up or for a portrait. There are practically no zoom lenses in this zoom range, regardless of whether it is SLR or micro-43, that also have image stabilization and are extra-well sealed against dust and splashwater. Build and auto focus

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimise the problem, hence they usually cost more.Sharpness at 12mm is outstanding centrally, from open aperture through to f/5.6. It is excellent at f/8 and f/11 and still very good at f/16, falling to only fair at f/22. The edges are not quite the same high standard, very good from f/3.5 to f/8, good at f/11 and fair at f/16 and f/22. For landscape assuming you are shooting at the wide end and narrow apertures, both lens will perform "identically" if. you go by the numbers. CA and resolution across the center to the edges are very similar according to opticallimits.com. See below:

The lens is also designed for HD video recording, with silent autofocus and aperture mechanisms. The aperture itself is formed from seven rounded blades and features stepless adjustment, to eliminate sudden brightness jumps in movie footage. A bayonet-fitting petal-type lens hood is included in the box, and reverses snugly around the barrel for transport, while the filter thread accepts relatively petite 58mm accessories and doesn’t rotate on focusing. However, the Pana-Leica’s advantage diminishes as you zoom in to 25mm, 40mm and 60mm. At these values, the results are more or less identical. In addition to the wide aperture, the POWER O.I.S. (Optical Image Stabilizer) effectively compensates for blurring, making it easy to shoot even in dim lighting. The lens works with the Dual I.S. (Image Stabilizer)*1, 5-axis Dual I.S.*2, and 5-axis Dual I.S.2*3 system when mounted on an applicable Panasonic LUMIX DSLM (Digital Single Lens Mirrorless) camera.

quote]The way it works is that several runs are done, and when the results of all the runs are pretty much saying exactly the same we have to accept the result. History is littered with examples of scientists only finding what they expect to find and ignoring unwanted results. Of course it's always possible to get a sub-standard or even a better than average sample and lens measurements are only made with one lens. This is a weakness, but the alternative would be horrendous in terms of cost and time. As it is I opted to run each marked focal length, making for quite a lot of data to process and present. [/quote] Setting sun shines through lavender plants in France. Lumix GH5 with Leica 12-60mm 1/60th @ F/22 ISO 200 By 60mm, shooting scenic views at infinity, only the centre is even reasonably sharp, and the sides are poor. Every other M4/3 lens I've tried which covers 60mm does this very much better. By contrast, close-ups are surprisingly sharp, to the point where the lens can stand in for shooting frame-filling butterflies etc, for which it is more than acceptably sharp for this type of lens. At all focal lengths, the highest center sharpness is reached after stopping down 1 stop. The sharpness in the corners increases further if you choose a smaller aperture, but then the center sharpness starts to slowly decrease as a result of diffraction. At 12 mm and 14 mm, the difference between center sharpness and corner sharpness is most noticeable, in particular because the center sharpness is the highest there. The longer the focal length, the more the sharpness decreases. Even so, the sharpness in jpg files at 60mm is still over 2000 lines per picture height. We then analyzed both jpg files (standard image style) and unsharpened RAW shots made with the Panasonic GX80 in Imatest. The MTF50 was tested by setting the image ratio of the test camera to 2:3, so that the measurement results are directly comparable with the measurement results from lenses on a camera with an APS-C or full-frame sensor. If you use the camera in the standard ratio of 4:3, the number of lines per picture height is higher. good)Primes are always better in absolute sharpnes vs a good zoom, moving parts creates compromises and distortionflaws.