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Panasonic LUMIX G LEICA DG SUMMILUX Lens, 12mm, F1.4 ASPH., Wide Angle, Professional Mirrorless Micro Four Thirds, H-X012 (USA BLACK)
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- Experience a Mirrorless Micro Four Thirds camera lens design with a significant reduction in size and weight of comparable DSLR 35mm lenses.
- 12mm F1.4 LEICA SUMMILUX high-performance wide angle lens for group, event, and nature photography (24mm 35mm camera lens equivalent).
- Indoor shooting in low lighting produces a natural defocusing effect with its F1.4 high speed aperture.
- Ideally suited for the outdoors with a splash and dustproof sealed body. (When combined with splash and dustproof LUMIX G Mirrorless camera models).Suppresses “sagittal flair” that occurs in some ultra wide-angle lenses at wide-aperture settings.
- Weight:115 gm,Closest Focusing Distance - 0.20m / 0.66 feet
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From the manufacturer
12mm LEICA DG SUMMILUX
The *12mm LEICA DG SUMMILUX lens with F1.4 was created for shooting landscapes in dynamic detail and resolution. The lens mount, barrel and hood are constructed of metal. (*35mm camera equivalent: 24mm)
LEICA - The Ultimate in Optics
With a LEICA DG lens from Panasonic LUMIX, photographers get the ultimate in optical quality and performance. Each lens meets and exceeds the strict quality standards set by Leica Camera AG.
Splash / Dustproof – Brave the Elements
Take on the elements in virtually any location or weather condition. The splash / dustproof construction* is tough enough to withstand heavy field use. *Splash/dustproof with compatible LUMIX cameras only.
4K-Enabled Video Capture
The LEICA DG not only performs smooth aperture changes to eliminate sudden jumps in exposure, its silent design also enhances audio capture in any scene. What’s more, stunning AF performance records extraordinary 4K video, where precise focusing is essential.
- 2 Aspherical lenses
- 2 Ultra Extra-Low Dispersion
- 1 Extra-Low Dispersion lens
Aspherical (ASPH) lenses reduce size and weight to effectively prevent spherical and distortion aberration. Extra-Low Dispersion (ED) and Ultra Extra-Low Dispersion (UED) lenses correct chromatic aberration to render sharp, high-contrast images with clear colors from corner to corner.
Compensate for Distortion
For lenses capable of compensating for distortion, the horizontal axis of the MTF shows the distance from the center of the corrected image.
|Item Dimensions||6.46 x 4.49 x 4.49 inches|
|Item Weight||1.3 pounds|
|Lens Design||Fixed Zoom|
|Maximum Focal Length||35|
|Minimum Focal Length||12|
|Photo Filter Thread Size||62 mm|
|Shipping Weight||1.15 pounds|
LUMIX Mirrorless Micro Four Thirds lenses deliver a reliable, no-compromise approach to optical performance for interchangeable camera enthusiasts and professionals. As an optical partner of legendary LEICA DG Lenses, our Panasonic LUMIX *12mm F1.4 lens features the highest standards of clarity and detail. Designed for capturing wide scenes in dynamic detail, this tough, durable lens is splash and dustproof when mounted on a compatible LUMIX G Mirrorless camera. Make the switch from bulky DSLRs. And see the difference smaller, lighter, more compact Panasonic LUMIX Mirrorless Micro Four Thirds system cameras and lenses can make for you. (*35mm camera equivalent: 24mm)
Read about our customers' top-rated lenses and cameras on our review pages: Lenses, Digital SLR Cameras, Compact System Cameras
Top customer reviews
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First of all, this is a lens for the micro four thirds system. There are number of excellent cameras for this system, primarily from Olympus and Panasonic, but there are also some excellent, high-end video cameras that use this mount.
Secondly, this lens is a wide prime. In buying a lens, a professional photographer or videographer is seeking to a tiny, tiny bit more image quality (IQ) compared to a professional grade zoom lens. In recent years, the difference between primes and zooms has become smaller and smaller, and a zoom lens is very handy. A prime lens such as this will let more light in, and allow for a wider range of depth of field, although, in this case, almost everything you shoot with this lens will be in focus.
12mm is considered a very wide, wide-angle lens in photography. However, the crop factor renders this lens as a 24mm equivalent. On older m4/3 cameras, such as the GH2, you will get an even wider image. For most of us, 12mm is wide enough for landscapes and situations where you don't have the room to get the shot.
This lens will give you great landscapes, with edge to edge sharpness. Wide open, it is slightly soft in the corners, but 12mm is a difficult lens to build and this level of sharpness is no small feat. At F4, it is sharp edge to edge. Color and microcontrast, owing to the coatings of the lenses and the overall design, is excellent. Although the product literature emphasizes it’s resistance to flare, many lenses have this feature. Similarly, product literature emphasizes 4K video—this lens has no particular advantages for 4K video other than its excellent image quality (and you will need a 4K camera, obviously). However, in terms of video and landscape photography, it is worth noting that this lens has a band of sharpness that goes edge to edge wide open. That is, the minimal soft spots occur at the deep corners of the image, not the center edges. Thus, in a group image or, for example, a concert or event, the full width of the center is very sharp wide open. Similarly, a large building will appear sharp, and even if the edge of the sky or the edge of the foreground is slightly less sharp, you won’t see it. Since there is no image stabilization built in, you will not hear the low-level noise of the stabilizers if you are using an onboard microphone.
Construction: solid, with a metal mount and some weather sealing: premium construction with a professional feel. The size and weight are above medium—it isn't a paperweight like some metal lenses, but neither is it light. If you lay the lens down side by side with the Olympus 12mm you will notice that it has the barrel shape of a compact zoom, as opposed to the tapered shape or pancake shape, and at 12 ounces, it’s a bit heavier than a typical m4/3 compact zoom, but lighter than many 35mm lenses. Thankfully, a hood is included.
Bokeh: photographers loosely use this term to describe the character of the out of focus areas of an image. Because this lens is hyperfocal—that is, almost everything appears in focus, bokeh is not so much of an issue. The rounded, nine-blade iris of the lens in theory gives reasonably good bokeh; in practice you will only notice this if you shoot a close up with the lens wide open. The bokeh leans towards busy, not towards smooth, but if you are shooting a landscape, this is not an issue. The bokeh, while fine, is nothing special.
Portraits: you really won’t want to us this lens for portraits, but it is great for group shots. In addition, you can get a good group shot indoors at a party with a slow shutter speed even without built-in image stabilization owing to the hyperfocal qualities of the lens. With a camera with IS built in, even better, and the fast glass will allow you to shoot at a low F-stop with decent coverage of a group of people.
Given that the lens has very few flaws, why should you buy this lens, and do you really need it? After all, it’s expensive.
Panasonic clearly studied the Olympus 12mm and determined to make a lens that equaled or exceeded this lens. And, to a degree, they succeeded: the Olympus is not as sharp at F2, and the Panasonic is faster still with a maximum aperture of F1.4. However, at F4-F5.6, there is no difference in image quality, and, outdoors, you won’t be shooting wide open. Another difference is the size and weight. The Panasonic is nicely compact, but the Olympus is smaller and lighter. If you travel with a ton of gear as I do, smaller and lighter is better.
Lastly, it is worth noting that professional zoom lenses are so sharp you may want to spend your money on, for example, the Olympus 12-40 F2.8. You won't see a big difference in the sharpness at 12mm, but you will be limited to F2.8 (not an issue for landscapes).
As a travel lens, if you are in front of a large building or cathedral, you will have to step back a considerable distance to be able to frame your shot, and this is not always possible (think, streets of Paris), in such a case you would need one of the wider zoom lenses.
However, 12mm is great lens size to have, and the Panasonic 12mm is a great lens.
PROS: Nicely finished metal body construction with smooth-as-silk focusing ring in manual mode. Razor sharp lens even fully open at F1.4. Fanastically small focusing distance, great for poping objects from the blurred background - very nice and creamy bokeh. Auto focus is very quick (at least on OLY bodies). Color rendition is very realistic and the contrast is good in most lighting conditions. No noticable vignetting. Flare is nicely controlled. Comes with a high quality (metal) lens hood and nice plastic lens cap.
CONS: Heavy and relatively large (this is the physics of F1.4 - you need a lot of glass), this is significantly bigger than the Oly F2.0 12mm and Samyang models. ~ 4 pixels of chromatic aberration at edges (purple fringing) under high contrast scenes. Autofocus is audible (not loud per say, but it is noticable). The aperature ring does NOT work with OLY cameras - not the lens' fault so no points deducted.
A bit expensive as compared with other lenses in this class - included lens bag is disappointing lightweight nylon.
Night shots below were done on an EPL5 with ASA 400 and F1.4.