Panasonic Lumix S 14-28mm F/4-5.6 Macro Lens Review

This new Lumix S 14-28mm f/4-5.6 MACRO lens completes a set of three inexpensive and matching lenses, the others being the Lumix S 20-60mm f/3.5-5.6 and Lumix S 70-300mm f/4.5-5.6 MACRO OIS. In the case of the 14-28mm and 20-60mm, they share an almost identical form factor and design layout, especially useful when changing gimbal-mounted lenses as it keeps the balance consistent and speeds up operation in the field. The new lens and its companions are full-frame optics, available in L mount. Let's see how this new ultra-wide zoom handles and performs, using the full-frame 24MP Panasonic Lumix S5 body.   

Panasonic Lumix S 14-28mm F/4-5.6 Macro Handling and Features

Starting our tour of the lens at the front, there is a provided petal lens hood that bayonets cleanly into position. Panasonic has adapted the catch that locks this into position, and it now lies flush with the rim of the hood and has no tendency to accidentally work loose. Within the bayonet fit for the hood is a conventional 77mm filter thread.

The lens is quite chunky in appearance, being 84.0mm in diameter and 89.8mm long. It weighs in at a svelte 345g, thanks to the use of polycarbonates in its construction. The lens does not change dimensions when zooming or focusing as seen from the outside, but the filter thread is stationary and the inner barrel does slightly move forwards and backwards. This is a clever way of maintaining the dimensions of the lens as a whole whilst allowing a short zooming action.

Next up is the manual focusing ring, electronic in action and having a very nicely judged amount of resistance. AF is fast, accurate and virtually silent. Focusing is down to 0.15m (0.49 feet) at all focal lengths, and this gives a magnification of 0.25x (1:4) at 14mm and 0.50x (1:2) at 28mm. At 28mm this is half-life-size, which is as close as older macro lenses focused. Thus the description Macro can genuinely be applied. This is a very welcome bonus indeed, and quite unusual for such a wide lens. This opens up the possibilities for macro shots with a different perspective. For the benefit of videographers, in particular, focus breathing is suppressed.

The zoom ring is firmer in action than the focusing, but still smooth and well-judged by the designers. There are clear and accurate markings at 14mm, 16mm, 18mm, 20mm, 24mm and 28mm.

There is just one switch on the lens barrel, and this is marked AF/MF and is self-explanatory.

Optical construction is 14 elements in 10 groups, including 1 Aspherical ED (Aspherical Extra Low Dispersion), 1 Aspherical, 3 ED (Extra Low Dispersion) and 1 UHR (Ultra High Refractive Index). The diaphragm comprises 7 blades, the aperture having micro-step control with videography in mind. The lens is also dust and splash resistant. The front element has a fluorine coating to help repel dust, grease and moisture.

The concept of a light, well-balanced ultra-wide zoom lens of high quality is sound, and the macro capability can lead to exciting possibilities that are otherwise generally not available. The price may be the relatively small aperture, but design choices are there to be made and here we have a compact and light lens rather than what could easily be a monster of a lens if it were faster. The handling is a breeze, there being little to intervene in the creative process, so time to look at the actual performance.