The following chart presents a comparison between basic parameters of different f/1.8-2.0 standard lenses equipped with autofocus and designed for full frame mirrorless cameras. It's clear that you deal here with two groups of models: the first consists of cheap, simple double gauss constructions (Canon and Sony), the second one encompasses very complex, modern constructions with even more than a dozen elements inside (Nikkor, Sigma, and Vlitrox). The tested Panasonic, with its 9 elements positioned in 8 groups, is right in the middle; the same can be said about its weight and physical dimensions. It sticks out with the biggest filter diameter, amounting to as much as 67 mm.
The more complex the optics the higher the price and here this correlation is quite obvious. Simple double gauss constructions by Canon and Sony can be bought for $150-250. The most complex Nikon and Sigma models mean spending $600-750. The Voigtlander Apo Lanthar 50 mm f/2 Aspherical can cost even over $850 and the price tag of the Panasonic S 50 mm f/1.8 amounts to about $350. The optically complex Viltrox is an exception to this rule – it costs less than $360. Mind you Viltrox, a relatively new Chinese producer, has to fight for their market share and compete by means of price. Apart from that, we have to admit it's not the best model in their line-up; anyway in our tests it fared rather poorly.
In a photo below the Panasonic S 50 mm f/1.8 is positioned between the Sony FE version of the Voigtlander Apo-Lanthar 2/50 and the Panasonic S Pro 50 mm f/1.4. Compared to its faster system 1.8/50 brother it seems small, even dainty but this impression disappears if you stack it up with the Voigtlander. Of course you have to remember that the Voigtlander is slower, comes without any AF motor, and it changes its dimensions.
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The tested lens starts with a metal mount that surrounds a dark, well matted ring with embedded contacts, a serial number, and information that it was made in China. Inside the ring there is an immobile rear element 33 mm in diameter. It is positioned rather shallowly inside, practically on the same level as the contacts. From this side everything seems to be correct and the lens remains completely sealed.
The proper barrel of the lens is made of black plastics. A red dot, making an alignment with the camera easier, is one of the first features. Further on, looking from above, there is a white vertical line – on its left there is the capital 'S' on its right '50' meaning the focal length and the focusing range '0.45m/1.48ft-∞'.
On the same level but on the left you get a focusing mechanism mode switch AF/MF. Below you see the name of the company, the model number of the lens, and its mount variant with an inscription 'LUMIX' a tad further.
The immobile ring slightly increases its diameter and then turns into another ring, for manual focusing. 30 mm wide, completely covered by relatively fine rubber ribbing. It is devoid of any distance and/or depth of field scale, it is a focus-by-wire construction that moves smoothly and is properly damped. In standard settings running through the whole distance range needs a turn through an angle of 180-190 degrees, a value allowing you very precise setting. We should also add the value of this angle can be set from the camera's menu level.
The next part of the barrel is just 10 mm wide; it features mainly a hood mount for a hood that you get with the lens in the box.
The front element of the lens is convex, immobile, 39 mm in diameter. It is surrounded by a ring with an inscription 'LUMIX' and parameters of the lens, along with a non-rotating filter thread 67 mm in diameter.
When it comes to optical construction you deal here with 9 elements positioned in 8 groups. Among them you get a lot of special elements for a standard lens – as many as three aspherical elements, one made of low dispersion ED glass and one more made of ultra high refraction glass (UHR). Inside there is also a round aperture with nine blades that can be closed down to a value of f/22 at the maximum.
