Panasonic’s micro four thirds cameras are very good, but with any interchangeable lens system, the bodies are only half the equation – they also need extensive, good-quality lens systems to back them up. And that’s just what Panasonic is trying to do here, introducing a fixed focal length macro lens to broaden the appeal of its cameras.

This one has a focal length of 45mm, and because this is micro four thirds, the equivalent focal length is easy to work out, thanks to the 2x focal factor. What you’re getting, then, is effectively a 90mm f2.8 which, as well as shooting close-ups, can also double as a portrait lens or short telephoto.

Panasonic’s premium lenses, like this one, are produced in conjunction with Leica, which bumps up the price but also gives an indication of the level of optical quality you should expect. And this lens certainly delivers here. Admittedly, the performance at f2.8 is just a little below par with some edge softening and vignetting, but from f4 on it delivers crisp, clear pictures with barely any distortion or chromatic aberration. It’s almost as sharp at the edges as it is at the centre, and the definition holds up right down to f11. At f16 and f22, diffraction effects set in, so while small apertures like these will give you more depth of field, they will also yield somewhat reduced outright definition. Indeed, f22 is probably best kept for emergencies, and if you do use it you will probably have to apply some sharpening later on for a bit more ‘bite’.

Optically, this lens is excellent, but the design and handling are slightly less impressive. For whatever reason, Panasonic hasn’t included a distance scale on the focus ring, and while this might not matter much with ordinary lenses in everyday use – most of us have come to rely on the autofocus anyway – it’s more of an issue here. Many macro photographers prefer to focus manually because it’s quicker (many autofocus systems can get ‘lost’ with really big focus shifts – including this one), and because you often need to focus manually ‘between’ key points to manage the depth of field properly and get them both sharp. Without any distance markings, though, you don’t know how far to turn the focus ring, or even which direction to turn it in.

That’s the difference between this lens and ‘classic’ macro lenses – it delivers excellent results, but doesn’t really have the hands-on focus control that this very specialised area of photography needs.

You can speed up the autofocus by restricting the minimum focus range to 0.5m, and this could prove ideal for portraiture and other longer-range photography as long as you don’t forget to reset the switch for close-ups, or you could waste a lot of time wondering why the lens won’t focus.

The focusing restrictions aren’t the only problem. It doesn’t feel like you’re getting an awful lot of lens for your money, either – at least not externally. The finish feels no better than that of the standard 14-45mm kit lens you get with Panasonic’s micro four thirds cameras. This, and the minimal controls could leave you feeling slightly short-changed. After all, Sigma’s 50mm f2.8 Macro costs less than half the price of this one and works just as well. The trouble is that you can’t get it (or any other independent lenses) in the micro four thirds mount. The Panasonic’s price is at least partly explained by its complex optical construction. It uses 14 elements in ten groups, which seems an awful lot for a fixed focal length lens (the Sigma uses ten elements in nine groups). It’s worth noting that the front element isn’t recessed at all, which does make this lens a bit more prone to flare, so it’s a good idea to fit the lens hood that comes with it as a matter of routine.

This lens does have a notable plus point, though, in the form of Panasonic’s Mega OIS image stabilisation system. Subject blur is a common problem with handheld macro shots, often because you’re shooting in poor light at marginal shutter speeds, or because you’re having to use a small lens aperture to get sufficient depth of field. All the same, it’s unwise to rely on image stabilisation alone. Unsharpness in close-ups is often caused by slight fore-and-aft movements, which send the subject in and out of focus. You often can’t help swaying slightly on your feet as you press the shutter release, and you may not even notice. Image stabilisation can’t help with this, which is one reason why a tripod is really a must for serious close-up work.

It’s great to see Panasonic beefing up its micro four thirds system with new lenses, but this one seems just

a bit pricey, regardless of its performance. If it was designed to fit pro-spec cameras it might be a different story, but as things stand its price seems out of step with the relatively modest cost of the four thirds cameras themselves.

Final Verdict The Panasonic 45mm f2.8 Macro delivers very good results, but that price tag is asking a lot OVERALL

Our lens reviewer, and technical expert, Rod is a veritable photographic encyclopaedia. His illustrious CV has seen him write for many mags, websites and journals.