Panasonic Lumix S Pro 50 mm f/1.4 review - Vignetting

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Panasonic Lumix S Pro 50 mm f/1.4

21 July 2025

Maciej Latałło

8. Vignetting

In case of full frame systems we have showed vignetting results both for the smaller APS-C sensor and full frame. Why? The systems of Canon, Nikon, Pentax, Sony, or Sigma have one mount that allows to attach full frame lenses both to full frame cameras and to cameras that are equipped with the APS-C/DX sensor. That's why information about vignetting or distortion on the second, smaller detector, is very important for some users. Panasonic also have been developping two systems, the L-mount and the Micro 4/3, but they are not compatible with each other – the Micro 4/3 lenses cannot be attached directly to Lumix S system cameras. In such a situation we have to base our vignetting (but also distortion) test only on a full frame detector.

As you could notice in the previous chapters the data on the edge of the APS-C/DX sensor were left for measurements of resolution and chromatic aberration. In these cases it was important because it provided additional information about the resolution and chromatic aberration spread across the frame.

First let's deal with vignetting observed on uncorrected JPEG files – let's remind here that in this case you deal with an image distortion-free and its field of view amounts to 47.24 deg so is even slightly wider than in case of a classic 50 mm lens.

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S1R II, FF, JPEG, f/1.4	S1R II, FF, JPEG, f/2.0

S1R II, FF, JPEG, f/2.8	S1R II, FF, JPEG, f/4.0

Huge dimensions of the Panasonic 1.4/50 mean the performance in this category can be quite sensible. At the maximum relative aperture brightness loss in the very corner amounts to 36% (-1.32 EV). This result still fits values that we can consider to be moderate. A very quick decrease of vignetting on stopping down also should be praised. By f/2.0 you see a low value of 23% (-0.75 EV), and by f/2.8 and f/4.0 this aberration becomes practically imperceptible, with results amounting to, respectively: 10% (-0.32 EV) and 3% (-0.08 EV).

We also can check vignetting on RAW files that weren't distortion corrected – consider it to be a kind of bonus addition to this chapter. Let's remind here that in this case you deal with a field of view amounting to as much as 50.67 deg – a field that a 45.7 mm lens devoid of distortion can provide. Sometimes the wider field might come in useful so it's worth knowing what vignetting level you have to accept.

S1R II, FF, RAW, f/1.4	S1R II, FF, RAW, f/2.0

S1R II, FF, RAW, f/2.8	S1R II, FF, RAW, f/4.0

In this case at the maximum relative aperture, light fall-off in frame corners amounts to 52% (-2.16 EV) and it decreases to 42% (-1.59 EV) on stopping down the aperture to f/2.0. After applying the f/2.8 aperture this aberration drops to a slight value of 28% (-0.97 EV), and the majority of problems ends by f/4.0 and f/5.6, where we got the following results: 15% (-0.48 EV) and 7% (-0.23 EV) respectively.

Significant dimensions of the Panasonic made themselves felt in this category, allowing the lens to win the duel with the Sony FE 50 mm f/1.4 GM – in its case vignetting by f1.4 reached a very high level of 63%.

Panasonic S1R II, JPEG, 50 mm, f/1.4