Panasonic Lumix S 20-60mm F/3.5-5.6

Standard zoom lens • Announced in May 2020 • Digital era

S The lens is designed for Panasonic S series digital mirrorless cameras but can be also used on other digital mirrorless cameras with Leica L mount.

Leica SL (typ 601)

35mm AF digital mirrorless camera

Announced: Oct 2015
Mount: Leica L
Format: 36 × 24mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: -

Panasonic Lumix DC-S1

35mm AF digital mirrorless camera

Announced: Feb 2019
Mount: Leica L
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Panasonic Lumix DC-S1R

35mm AF digital mirrorless camera

Announced: Feb 2019
Mount: Leica L
Format: 36 × 24mm
Resolution: 8000 × 6000 - 48 MP
Sensor type: CMOS
Image stabilizer: Yes

Sigma fp

35mm AF digital mirrorless camera

Announced: Jul 2019
Mount: Leica L
Format: 35.9 × 23.9mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Shutter type: Focal-plane
Shutter model: Electronically controlled
Speeds: 30 - 1/8000 + B
Exposure metering: Through-the-lens (TTL)
Exposure modes: Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Image stabilizer: -
Dimensions: 112.6x69.9x45.3mm
Weight: 422g

Panasonic Lumix DC-S1H

35mm AF digital mirrorless camera

Announced: Aug 2019
Mount: Leica L
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Leica SL2

35mm AF digital mirrorless camera

Announced: Nov 2019
Mount: Leica L
Format: 36 × 24mm
Resolution: 8368 × 5584 - 47 MP
Sensor type: CMOS
Image stabilizer: Yes

Panasonic Lumix DC-S5

35mm AF digital mirrorless camera

Announced: Sep 2020
Mount: Leica L
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Leica SL2-S

35mm AF digital mirrorless camera

Announced: Dec 2020
Mount: Leica L
Format: 36 × 24mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sigma fp L

35mm AF digital mirrorless camera

Announced: Mar 2021
Mount: Leica L
Format: 36 × 24mm
Resolution: 9520 × 6328 - 60 MP
Sensor type: CMOS
Shutter type: Focal-plane
Shutter model: Electronically controlled
Speeds: 30 - 1/8000 + B
Exposure metering: Through-the-lens (TTL)
Exposure modes: Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Image stabilizer: -
Dimensions: 112.6x69.9x45.3mm
Weight: 427g

Designed for

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Features highlight

ASPH
STM
DP/WR
FC

Specification

Optical design
Maximum format: 35mm full frame
Diagonal angle of view: 94.5°-39.6° (35mm full frame)
70.5°-26.5° (Leica L APS-C)
Lens construction: 11 elements - 9 groups
2 ASPH, 3 ED, 1 UHR
Mechanical design
Mount: Leica L
Diaphragm mechanism
Number of blades: 9
Zooming
Zooming method: Rotary
Zoom type: Extends while zooming
Focusing
Closest focusing distance: 0.15m
Maximum magnification ratio: 1:2.33 @ 60mm at the closest focusing distance
Focusing method: <No information>
Focusing modes: Autofocus, manual focus
Manual focus control: Focusing ring
Autofocus motor: Stepping motor
Focus mode selector: AF/MF
Manual focus override in autofocus mode: Determined by the camera
Image stabilizer
Image stabilizer: -
Physical characteristics
Weight: 350g
Maximum diameter x Length: Ø77×87mm
Weather sealing: Dust-proof and water-resistant barrel
Fluorine coating: Front element
Accessories
Filters: Screw-type 67mm
Lens hood: Bayonet-type 1ZE2SR2060Z (petal-shaped)

Manufacturer description #1

Panasonic Launches a New L-Mount Interchangeable Lens for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S 20-60mm F3.5-5.6 (S-R2060)

Newark, NJ (May 27, 2020) – Panasonic is proud to introduce a new interchangeable standard zoom lens, the LUMIX S 20-60mm F3.5-5.6 (S-R2060) based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Designed for professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses.

The new LUMIX S 20-60mm F3.5-5.6 is a compact, lightweight standard zoom lens that covers from ultra-wide 20mm to standard 60mm focal length for versatile use including landscape photography. The wide viewing angle makes it easier to shoot indoors where space is limited and stunning close-up capability of 5.9 inches / 0.15m (maximum magnification 0.43x) supports still life photography. The new LUMIX S 20-60mm F3.5-5.6 also ensures smooth, high quality video recording because of a mechanism that suppresses focus breathing, which can an issue in interchangeable lenses designed for still image photography.

With 11 elements in 9 groups, the use of 2 aspherical lenses and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with these aspherical lenses, achieving high resolving performance. Furthermore, a UHR (Ultra-High Refractive Index) lens achieves uniform image quality from the center to edges of the image while contributing to downsizing of the lens unit.

With its compact, approximately 12.3 oz / 350g of light weight, the LUMIX S 20-60mm F3.5-5.6 features stunning mobility. The rugged dust/splash-resistant* design withstands use under harsh conditions even at 14°F / -10°C for high mobility. In addition, a fluorine coating on the front element repels water and oil and prevents them from attaching. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

Panasonic and L-Mount system alliance are committed to the development of L-Mount lenses for the further expansion of its lineup to fulfill the needs of end users.

Manufacturer description #2

The LUMIX S 20-60mm F3.5-5.6 is a compact, lightweight standard zoom lens in a L-mount/full-frame format. Covering from ultra wide 20mm to standard 60mm focal length, it supports versatile shooting opportunities from landscapes to snap shots. Wide view angle makes it easier to shoot indoors where room space is limited and minimum focusing distance of 5.9-inch (maximum magnification 0.43x) supports close-up photography. High optical performance ensures superb image quality from center to edges, while keeping the body size small. Thanks to the mechanism that suppresses focus breathing, smooth and high quality video recording is made possible.

The rugged dust/splash-resistant* design withstands use under harsh conditions even at 14 degrees F for high mobility. In addition, a fluorine coating on the front element protects the lens from water and oil. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

Typical application

landscapes, interiors, buildings, cityscapes, portraits, travel

Lenses with similar focal length range and speed

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best slow standard zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

Model produced in a small batch. It is collectible and can only be found on the secondary market.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film. The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Stepping motor

AF/MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. A magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size". A lens is not considered to be "true" macro unless it can achieve at least life-size magnification.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.