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CES 2024: Panasonic Rethinks Macro With Lumix S 100mm Lens

The Lumix S 100mm F2.8 sports a shorter barrel and faster focus than most 1:1 macro lenses, and promises speedy dual-element focus for video and action snaps

 & Jim Fisher Principal Writer, Cameras

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(Credit: Panasonic)

Panasonic took out its pen and started drawing outside the typical lines for its latest full-frame L-mount lens, the Lumix S 100mm F2.8 Macro. The lens is not only smaller and lighter than most others of this type, its focus is tuned for a snappy response, a benefit for video, candid portraits, and other quick snaps. And, for close-ups, the lens focuses extra close for 1:1 magnification, so it earns its macro moniker.


A Micro Macro Prime

The S 100mm F2.8's stout barrel is uncommon among short telephoto macros, most of which are quite a bit longer. The Lumix 100mm is a couple inches shorter than the other macro lens L-mount camera owners will consider, the Sigma 105mm F2.8 DG DN Macro Art, and more than half as light (10.8 ounces).

(Credit: Panasonic)

The design decision isn't simply for bragging rights. Panasonic's user base is arguably more interested in moving pictures than stills. The 100mm F2.8 is very similar in size and weight to the other F1.8 primes in the Lumix S lineup, so creators who rely on gimbal stabilization can swap primes without rebalancing the camera.

Focus breathing is corrected optically, another benefit for video use, but also a plus for macro photography. Photographers who rely on focus stacking, a photo technique that merges multiple shots, each with a different point of focus on the same subject to achieve more depth of field in an image, will appreciate it, as it keeps framing consistent through a sequence of images.

(Credit: Panasonic)

The breathing control, small size, and promised fast focus response are made possible by a dual-element focus system, uncommon among macro lenses. The Lumix S 100mm Macro uses a newly developed Dual Phase Linear Motor to drive its main focus group, while a stepping motor drives the secondary sub-focus group.

For manual focus, the dual group supports very precise control. The lens is configurable for nonlinear or linear focus response, with adjustable throw available for linear. With up to 1,600 degrees of rotation available to move from 1:1 magnification to infinity, macro photographers will enjoy more precise focus than is possible with a mechanical lens.

(Credit: Panasonic)

The lens includes a focus limiter switch, as well as an AF/MF toggle on barrel, and shares its 67mm filter size with the rest of the Lumix S F1.8 prime series. It is protected from dust and splashes, and freeze proof to 14°F too.

Put it all together and you've got a macro lens that looks better suited for general use than specialty work. The promised focus speed improves utility for portrait and candid photo ops, as well as for video. As for trade-offs, Panasonic is up front that central sharpness from the S 100mmF 2.8 isn't quite as good as the Sigma. Optical stabilization isn't included, which makes high magnification handheld photography a little tricky, but the other L-mount macro, the Sigma 105mm, doesn't have it either.


Pricing and Availability

The Lumix S 100mm F2.8 Macro lens is available exclusively for full-frame L-mount cameras, so it'll work with models from Leica and Sigma as well as Panasonic. It's priced at $999.99 and is expected in stores later this month.

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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