Here’s a little secret: I love pairing a Micro Four Thirds camera with a full frame camera for shoots.  

Why? A Sony 16-35mm f2.8 is $2000, or if you want the f4 version that’s still $1300.

I can get a 2nd body, the Panasonic G9 in my case, and pair it with the Panasonic-Leica 8-18mm f2.8-4.0 for less than the price of just the Sony 16-35mm f2.8. I can also get arguably better video, a burst shutter at 60 frames per second in RAW, perfect for action shots with families. And with a 2nd body, you’re not fumbling around changing lenses.

But that isn’t to say that you can’t just use Micro Four Thirds camera instead of full frame, I used it exclusively for years and loved it. Dollar for dollar, the Micro Four Thirds system offers some of the best lenses money can buy (see my thoughts on The Best Micro Four Thirds Lenses). But growing a photography business calls for getting the best cameras, accessories, etc.

For my personal work, I often just travel with my trusty, compact, Panasonic GX-85 (which I consider my poor man’s Leica) 😁

In any case, no camera bag should be without a wide-angle lens. Some of the best pieces of glass that fall in the wider end also double as some of the most versatile gear you could ever get for your system.

Landscapes are a given; wider focal lengths let you capture more of the scene and allow you to play with more dramatic perspectives. Wide-angle lenses are also a staple in architecture, astrophotography and real estate work. With the explosion of YouTube’s popularity and the videography industry over the last decade or so, filmmakers and vloggers now turn to their UWAs as workhorse lenses.

So if you’re rocking a micro four thirds body and are looking to pick up a nice wide angle lens, whether for stills or for video work, we got you covered. In today’s roundup, we’re covering the top 5 wide angle lenses you can get for your m43 system in 2021. But first, let’s start with definitions…

At what focal length is a lens considered a wide angle lens? 

I’m not 100% sure on the exact definition. Wikipedia calls 24-35mm a standard wide angle, an 16-24mm wide angle, and lower than 16mm ultra wide. So we’ll go with that.

And keep in mind the crop factor for Micro Four Thirds, for eg. the Panasonic 8-18mm f2.8-4.0 is a full frame equivalent of 16-36mm. Review our guide on Micro Four Thirds vs Full Frame if you’re still a little confused.

We’ll focus on lenses that can shoot wider than 24mm. 

Which means I’ll have to discuss a few snubs:

Panasonic 14mm f2.5 and Panasonic-Leica 15mm f1.7 – I love these lenses. The former is the smallest pancake lens on m43, and it’s wide, just quite not wide enough. Same with the Panasonic-Leica at a full frame equivalent of 30mm.

Laowa 7.5mm and 10mm f2.0 – I’m not snubbing them because they’re too wide. I liked these lenses but not having AF for me, is a real downside for modern cameras. Something to consider for those who like MF, but they just weren’t for me.

With that out of the way, let’s get on to the list, starting with my favorite…

#1 – Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4

After trying multiple wide angle lenses for Micro Four Thirds, this is the one I settled on. Though I’m still considering selling most my lenses and replacing it with the almighty 10-25mm f1.7 we’ll discuss below.

If weight, size and portability are important to you, then Panasonic Leica 8-18mm F2.8-4 makes a compelling argument for its place in your camera bag. At only 315 grams, the Leica 8-18mm F2.8-4 is around 100g lighter than the M.Zuiko 8-25mm F4.0 PRO while being a stop faster at the wide end. It also has an internal zoom design and feels well balanced; perfectly suited for a day of vlogging and long hours of gimbal work.

While it does have a relatively bright, F2.8-4 variable aperture, it’ll still take regular 67mm filters unlike most UWA offerings. Having the ability to screw in whatever type of filter you need is a huge plus for landscape shooters and videographers who need their polarizers and NDs on the regular. Did I mention that it also has a metal construction, is dust and splashproof, and will work in -10 °C conditions?

At 8mm, sharpness in the center and at the edges is already good when shot wide open, getting even better stopped down to f4 and f5.6. On the other end at 18mm, where the max aperture will be f4, it’ll be at its best at f5.6 with the corners getting a further boost in sharpness at f8. Finally, the Panasonic Leica 8-18mm F2.8-4 also has remarkable distortion control, making it an amazing real estate workhorse for both stills and video work.

Here’s Darren Miles’ awesome review of the Panasonic Leica 8-18mm F2.8-4 if you want to see how it performs on the job:

#2 – Panasonic Leica DG Vario-Summilux 10-25mm f/1.7

We’ve rounded up five pros’ thoughts on the Panasonic Leica 10-25mm F1.7 before, and they’re all saying the same thing: this insanely fast wide angle zoom for the MFT system performs well enough to replace most, if not all, prime lenses in this range.

The Panasonic Leica 10-25mm F1.7 is a prime killer. It’s so sharp that it even matches the Panasonic Leica 12mm F1.4 and outperforms the 25mm F1.4 at max apertures. It also boasts very little distortion, well controlled flaring and vignetting. Bokeh, as you might expect from fast zoom, is outstanding.

In terms of pure image quality alone, the Panasonic Leica 10-25mm F1.7 is a clear homerun. It’s more than good enough to get you to sell off your collection of wide primes and be set for life. However, Panasonic and Leica haven’t broken physics just yet, and all the optical performance of this premium zoom comes with a hefty caveat: right about 1.5 pounds in weight and an enormous build.

Whether this lens is for you or not depends a lot on your willingness to live with that much weight mounted on your m43 body. But one consolation I can offer is if you’ve shot with the Sigma 18-35mm F1.8 + Speedbooster combo on a micro four thirds body before, then it’ll pretty much have the same handling. Plus, you’re getting a fully weather sealed, native constant f1.7 zoom that covers your wide angle to standard focal lengths in flying colors.

#3 – Olympus M.Zuiko 8-25mm F4.0 PRO

Don’t count Olympus out just yet. They may have sold off their imaging department, which now goes by Olympus Digital Solutions (OMDS), but the introduction of the spectacular Olympus M.Zuiko 8-25mm F4.0 PRO is a very welcome breath of optimism for the future of micro four thirds.

The M.Zuiko 8-25mm F4.0 PRO is a high-end lens and is easily one of the best all-rounders you can get for your micro four thirds camera. It checks out a lot of the things that matter: the Olympus 8-25mm F4.0 PRO is super sharp at the center even wide open and then reaches its peak from corner to corner at F5.6.

Autofocus is very quick and reliable at any focal length. There are no focus breathing issues to report, too. Videographers will appreciate the focus clutch mechanism (that turns the right way) for serious video work that requires the expertise of a focus puller. Speaking of focus, the 8-25mm F4.0 PRO has a 23cm close focusing distance (at all focal lengths), so while it’s not a true macro lens, you can still get very close for your detail shots.

Bearing the PRO badge, this ultra wide to standard 16-50mm full frame equivalent is solidly weather sealed and proudly has an IPX1 rating. There’s a lot to love about this lens. It’s lightweight, has good range, focuses fast, and offers outstanding image quality: it’s the perfect goldilocks lens for vloggers, landscape photographers to travel/adventure filmmakers.

Have a look Chris Eyre-Walker’s review of the Olympus M.Zuiko 8-25mm F4.0 PRO to see how it performs out in the real world:

#4 – Panasonic Lumix G Vario 7-14mm f/4

The Panasonic Lumix G Vario 7-14mm f4 was one of the first head-turning releases for the m43 system, thanks to that 14-28mm effective field of view. For a lens that’s over a decade old, it keeps up just fine with the newer crop of lenses. Incidentally, it’s also one of the widest lenses you can get for your micro four thirds system that won’t break the bank.

Adventure or travel photographers, travel vloggers and videographers would also appreciate the surprisingly compact footprint on the Panasonic 7-14mm f4. At only 300 grams, it’ll make long days of shooting a lot easier on your back. Focusing is smooth and quiet so running and gunning with this ultra-wide angle lens on more documentary-style projects wouldn’t be an issue.

Now let’s talk about image quality. It’s sharp. Impressively sharp that the more modern Leica 8-18mm f/2.8-4 is within striking distance if you look at the 100% crops. The only time Leica gets a real win over the Panasonic is in the corners, but still nothing short of impressive considering Panasonic’s age.

There’s however one potential drawback that you should know when considering the Lumix G Vario 7-14mm f/4, and the main reason why I would eventually upgrade to the Panasonic-Leica 8-18mm… It doesn’t have a conventional filter thread because of its more convex front element. There are workarounds though, you should be able to find specialized filter systems for it though so make sure you do research. That said, for about $700, the Panasonic Lumix G Vario 7-14mm f/4 presents amazing value for money.

The Hybrid Shooter has an updated, long term review of the 7-14mm f/4 if you’re thinking about getting this amazing lens:

#5 – Panasonic Leica DG Summilux 12mm f/1.4

Now here’s a lens for people looking for the best of the best wide angle prime the micro four thirds system has to offer. You’ll be hard pressed to find a better, sharper and faster lens than the Panasonic Leica DG Summilux 12mm f/1.4.

Bearing the Leica badge, it’s got that trademark premium all-metal build, nicely-damped focus ring and a weather resistant body. On the AF department, Panasonic claims this fast wide angle prime’s stepping motor is powerful enough to keep up with their sensor-based, 240FPS sensor drive feature present in newer m43 bodies.

Looking at lab results, it’s apparent that Panasonic and Leica have poured a lot of attention on bringing the sharpness levels at the center to such a high level. Corners may not be as crisp, but are still really good and will get a boost in resolution starting at f2 all the way to f8. The same lab data also suggest that the Leica DG Summilux 12mm f/1.4 has close to zero barrel distortion.

There’s no such thing as a perfect lens, but this one comes pretty close. Put the near-flawless optics, fast f1.4 aperture, blazing fast AF together and you’ll have yourself a reliable prime that will perform phenomenally in any conditions. For astrophotography, street, landscape and real estate work, I think the Panasonic Leica DG Summilux 12mm f/1.4 is the lens to beat.

Now it’s wide, great for a lot of things but probably not the best bet for architecture, real estate, etc. Just something to keep in mind.

I’ll also throw in an honorable mention to the Olympus 12mm f2.0, great little small lens. The only downside I saw with it was the “focus stepping” you would get with the focus ring.

Check out Ted Forbes’ take on this very special Leica and how it made him rethink his view on the micro four thirds system: