The Micro Four Thirds system (MFT or M4/3) (マイクロフォーサーズシステム, Maikuro Fō Sāzu Shisutemu) is a standard released by Olympus and Panasonic in 2008, for the design and development of mirrorless interchangeable lens digital cameras, camcorders and lenses. Camera bodies are available from Blackmagic, DJI, JVC, Kodak, Olympus, Panasonic, Sharp, and Xiaomi. MFT lenses are produced by Cosina Voigtländer, DJI, Kowa, Kodak, Mitakon, Olympus, Panasonic, Samyang, Sharp, Sigma, SLR Magic, Tamron, Tokina, TTArtisan, Veydra, Xiaomi, Laowa, Yongnuo, Zonlai, Lensbaby, Kowa, Venus Optics and 7artisans amongst others.
MFT shares the original image sensor size and specification with the Four Thirds system, designed for DSLRs. Unlike Four Thirds, the MFT system design specification does not provide space for a mirror box and a pentaprism, which facilitates smaller body and lens designs via the shorter flange focal distance of 19.25mm. The short flange distance, when combined with an adapter of proper depth, allows MFT bodies to use almost any lens ever made for a camera with a flange distance larger than 19.25mm. Still-camera lenses produced by Canon, Leica, Minolta, Nikon, Pentax and Zeiss have all been successfully adapted for MFT use – as well as lenses produced for cinema, e.g., PL mount or C mount.
For comparison of the original Four Thirds with competing DSLR system see Four Thirds system#Advantages, disadvantages and other considerations
Compared to inexpensive digital compact cameras and many bridge cameras, MFT cameras have better, larger sensors, and interchangeable lenses. There are many lenses available. On top of this, a large number of other lenses (even from the analogue film era) can be fitted using an adapter. Different lenses yield greater creative possibilities. However, Micro Four Thirds cameras also tend to be slightly larger, heavier and more expensive than compact cameras.
Compared to most digital SLRs, the Micro Four Thirds system (body and lenses) is smaller and lighter. However, their sensors are smaller than full-frame or even APS-C systems. The small lenses do not allow the noise depth-of-field tradeoffs of larger lenses in other systems. Micro Four Thirds cameras use an electronic viewfinder. Resolutions and refresh speeds on these EVF displays were originally compared negatively to optical viewfinders, but today's EVF systems are faster, brighter and much higher resolution than the original displays. Original Micro Four Thirds cameras used a contrast-detection autofocus system, slower than the phase-detect autofocus that is standard on DSLRs. To this day most Micro Four Thirds cameras continue to use a contrast-based focusing system. Although some current models, such as the Olympus OM-D E-M1 Mark II, feature a hybrid phase-detect/contrast detect system, Panasonic Lumix cameras have continued to use a contrast-based system called DFD (Depth from Defocus). Both systems today provide focusing speeds to rival or even surpass many current DSLRs.
The image sensor of Four Thirds and MFT measures 18 mm × 13.5 mm (22.5 mm diagonal), with an imaging area of 17.3 mm × 13.0 mm (21.6 mm diagonal), comparable to the frame size of 110 film. Its area, ca. 220 mm2, is approximately 30% less than the APS-C sensors used in other manufacturers' DSLRs; it is around 9 times larger than the 1/2.3" sensors typically used in compact digital cameras.
The Four Thirds system uses a 4:3 image aspect ratio, like compact digital cameras. In comparison, DSLRs usually adhere to the 3:2 aspect ratio of the traditional 35 mm format. Thus, "Four Thirds" refers to both the size and the aspect ratio of the sensor. However, the chip diagonal is shorter than 4/3 of an inch; the 4/3 inch designation for this size of sensor dates back to the 1950s and vidicon tubes, when the external diameter of the camera tube was measured, not the active area.
The MFT design standard also specifies multiple aspect ratios: 4:3, 3:2, 16:9 (the native HD video format specification), and 1:1 (a square format). With the exception of a few MFT cameras, most MFT cameras record in a native 4:3 format image aspect ratio, and through cropping of the 4:3 image, can record in 16:9, 3:2 and 1:1 formats.
The MFT system design specifies a bayonet type lens mount with a flange focal distance of 19.25 mm. By avoiding internal mirrors, the MFT standard allows a much thinner camera body.
Viewing is achieved on all models by live view electronic displays with LCD screens. In addition, some models feature a built-in electronic viewfinder (EVF), while others may offer optional detachable electronic viewfinders. An independent optical viewfinder typically matched to a particular non-zoom prime lens is sometimes an option.
The throat diameter is about 38 mm, 6 mm less than that of the Four Thirds system. Electrically, MFT uses an 11-contact connector between lens and camera, adding to the nine contacts in the Four Thirds system design specification. Olympus claims full backward compatibility for many of its existing Four Thirds lenses on MFT bodies, using a purpose built adapter with both mechanical and electrical interfaces.
The shallow but wide MFT lens mount also allows the use of existing lenses including Leica M, Leica R, and Olympus OM system lenses, via Panasonic and Olympus adapters. Aftermarket adapters include Leica Screw Mount, Contax G, C mount, Arri PL mount, Praktica, Canon, Nikon, and Pentax, amongst others. In fact, almost any still camera, movie or video camera interchangeable lens that has a flange focal distance greater than or marginally less than 20 mm can often be used on MFT bodies via an adapter. While MFT cameras can use many of these "legacy" lenses only with manual focus and manual aperture control mode, hundreds of lenses are available, even those designed for cameras no longer in production.
While lens manufacturers seldom publish lens mount specifications, the MFT mount has been reverse-engineered by enthusiasts, with CAD files available.
MFT cameras usually use contrast-detection autofocus (CDAF), a common autofocus system for mirrorless compact or "point-and-shoot". By comparison, DSLRs use phase-detection autofocus (PDAF). The use of separate PDAF sensors has been favored in DSLR systems because of mirror box and pentaprism design, along with better performance for fast-moving subjects.
The (non-Micro) Four Thirds system design standard specifies a 40 mm flange focal length distance, which allowed for using a single lens reflex design, with mirror box and pentaprism. Four Thirds DSLR cameras designed by Olympus and Panasonic initially used exclusively PDAF focusing systems. Olympus then introduced the first live view DSLR camera, which incorporated both traditional DSLR phase focus and also optional contrast detection focus. As a result, newer Four Thirds system lenses were designed both for PDAF and contrast focus. Several of the Four Thirds lenses focus on Micro Four Thirds proficiently when an electrically compatible adapter is used on the Micro Four Thirds cameras, and they focus on Micro Four Thirds cameras much quicker than earlier generation Four Thirds lenses can.
Some MFT cameras, such as the OM-D E-M1 series and E-M5 Mark III incorporate phase-detection hardware on the sensor to support legacy lenses. These camera bodies perform better with legacy lenses (e.g. focus performance of the 150mm f/2 and 300mm f/2.8 lenses are as quick and accurate as a native Four Thirds body).
The much shorter flange focal distance enabled by the removal of the mirror allows normal and wide angle lenses to be significantly smaller because they do not have to use strongly retrofocal designs.
The Four Thirds sensor format used in MFT cameras is equivalent to a 2.0 crop factor when compared to a 35 mm film (full frame) camera. This means that the field of view of an MFT lens is the same as a full frame lens with twice the focal length. For example, a 50 mm lens on a MFT body would have a field of view equivalent to a 100 mm lens on a full frame camera. For this reason, MFT lenses can be smaller and lighter because to achieve the equivalent 35 mm film camera field of view, the MFT focal length is much shorter. See the table of lenses below to understand the differences better. For comparison, typical DSLR sensors, such as Canon's APS-C sensors, have a crop factor of 1.6.
This section gives a brief introduction to the subject of "equivalence" in photography. Equivalent images are made by photographing the same angle of view, with the same depth of field and the same Angular resolution due to diffraction limitation (which requires different f-stops on different focal length lenses), the same motion blur (requires the same shutter speed), therefore the ISO setting must differ to compensate for the f-stop difference. The use of this is only to let us compare the effectiveness of the sensors given the same amount of light hitting them. In normal photography with any one camera, equivalence is not necessarily an issue: there are several lenses faster than f/2.4 for Micro Four Thirds (see the tables under Fixed Focal Length Lenses, below), and there are certainly many lenses faster than f/4.8 for full frame and no one hesitates to use them even though they can have shallower depth of field than a Nikon 1 at f/1.7, in fact that can be seen as advantageous, but it has to be taken into consideration that a further aspect of image resolution is limitation by optical aberration, which can be compensated the better the smaller the focal lengths of a lens is. Lenses designed for mirrorless camera systems such as Nikon 1 or Micro Four Thirds often use image-space telecentric lens designs, which reduce shading and therefore light loss and blurring at the microlenses of the image sensor. Furthermore, in low light conditions by using low f-numbers a too-shallow depth of field can lead to less satisfying image results, especially in videography, when the object being filmed by the camera or the camera itself is moving. For those interested in producing equivalent images, read on.
Equivalent focal lengths are given, if the angle of view is identical.
The depth of field is identical, if angle of view and absolute aperture width are identical. Also the relative diameters of the Airy disks representing the limitation by diffraction are identical. Therefore, the equivalent f-numbers are varying.
In this case, i.e., with the same luminous flux within the lens, the illuminance quadratically decreases and the luminous intensity quadratically increases with the image size. Therefore, all systems detect the same luminances and the same exposure values in the image plane, and as a consequence of this the equivalent exposure indexes (respectively equivalent ISO speeds) are different in order to get the identical shutter speeds (i.e., exposure times) with the same levels of motion blur and image stabilisation. Furthermore, for a given guide number of a photoflash device all systems have the same exposure at the same flash-to-subject distance.
The following table exemplarily shows a few identical image parameters for some popular image sensor classes compared to Micro Four Thirds: The smaller the focal length, the smaller is also the displacement in the image space between the last principal plane of the lens and the image sensor in order to focus a certain object. Therefore, the energy needed for focusing as well as the appropriate delay for shifting the focusing lens system are shorter, the smaller the focal length is.
|Image sensor class||Equivalent focal length at wide angle (diagonal angle of view ≈ 75°)||Equivalent focal length at normal angle (diagonal angle of view ≈ 47°)||Equivalent focal length at tele angle (diagonal angle of view ≈ 29°)||Equivalent f-number at identical depth of field and identical diffraction-limited resolution||Equivalent exposure index at identical exposure time and flash range||Displacement in image space when focusing from infinite to one metre in object space at normal angle|
|Nikon 1||10 mm||18 mm||31 mm||1.7||100||0.33 mm|
|Four Thirds||14 mm||25 mm||42.5 mm||2.4||200||0.64 mm|
|APS-C||18 mm||33 mm||57 mm||3.2||360||1.1 mm|
|Full-frame||28 mm||50 mm||85 mm||4.8||800||2.6 mm|
Micro Four Thirds has several advantages over larger format cameras and lenses:
Though many DSLRs also have "live view" functionality, these often function relatively poorly compared to a Micro Four Thirds electronic viewfinder (EVF), which has the following advantages:
Olympus and Panasonic approached the implementation of electronic viewfinders in two ways: the built-in EVF, and the optional hotshoe add-on EVF.
Until the introduction of the OM-D E-M5 in February, 2012, none of the Olympus designs included a built-in EVF. Olympus has four available add-on hotshoe viewfinders. The Olympus VF-1 is an optical viewfinder with an angle of view of 65 degrees, equivalent to the 17mm pancake lens field of view, and was designed primarily for the EP-1. Olympus has since introduced the high resolution VF-2 EVF, and a newer, less expensive, slightly lower resolution VF-3 for use in all its MFT cameras after the Olympus EP-1. These EVF's not only slip into the accessory hotshoe, but also plug into a dedicated proprietary port for power and communication with Olympus cameras only. Both the VF-2 and VF-3 may also be used on high-end Olympus compact point and shoot cameras such as the Olympus XZ-1. Olympus announced the VF-4 in May 2013, along with the fourth generation PEN flagship, the E-P5.
As of mid-2011, Panasonic G and GH series cameras have built in EVF's, while two of the three GF models are able to use the add-on LVF1 hotshoe EVF. The LVF1 must also plug into a proprietary port built into the camera for power and communication. This proprietary port and the accessory is omitted in the Panasonic Lumix DMC-GF3 design. Similar to Olympus, the LVF1 is usable on high-end Panasonic compact point and shoot cameras, such as the Panasonic Lumix DMC-LX5.
Due to the short native flange distance of the Micro Four Thirds System, the usage of adapted lenses from practically all formats has become widely popular. Because lenses can be used from old and abandoned camera systems, adapted lenses typically represent good value for the money. Adapters ranging from low- to high-quality are readily available for purchase online. Canon FD, Nikon F (G lenses require special adapters), MD/MC, Leica M, M42 Screw Mount, and C-mount Cine lenses to name a few are all easily adaptable to the Micro Four Thirds system with glassless adapters resulting in no induced loss of light or sharpness.
Adapted lenses retain their native focal lengths but field of view is reduced by half —i.e., an adapted 50mm lens is still a 50mm lens in terms of focal length but has a narrower FOV equivalent to a 100mm lens due to the Micro Four Thirds System 2x crop factor. Therefore, most adapted glass from the 35mm film era and current DSLR lineups provide effective fields of view varying from normal to extreme telephoto. Wide angles are generally not practical for adapted use from both an image quality and value point of view.
Using older adapted lenses on Micro Four Thirds sometimes leads to a slight losses in image quality. This is the result of placing high resolution demands on the center crop of decade old 35mm lenses. Therefore, 100% crops from the lenses do not usually represent the same level of pixel-level sharpness as they would on their native formats. Another slight disadvantage of using adapted lenses can be size. By using a 35mm film lens, one would be using a lens that casts an image circle that is far larger than what is required by Micro Four Thirds Sensors.
The main disadvantage of using adapted lenses however, is that focus is manual even with natively autofocus lenses. Full metering functionality is maintained however, as are some automated shooting modes (aperture priority). A further disadvantage with some LM and LTM lenses is that lenses with significant rear protrusions simply do not fit inside the camera body and risk damaging lens or body. An example is the Biogon type of lens.
Overall, the ability to use adapted lenses gives Micro Four Thirds a great advantage in overall versatility and the practice has gained a somewhat cult following. Image samples can be found readily online, and in particular on the MU-43 adapted lenses forum.
As of June 2012[update], Olympus, Panasonic, Cosina Voigtländer, Carl Zeiss AG, Jos. Schneider Optische Werke GmbH, Komamura Corporation, Sigma Corporation, Tamron, Astrodesign, Yasuhara, and Blackmagic Design have a commitment to the Micro Four Thirds system.
The first Micro Four Thirds system camera was Panasonic Lumix DMC-G1, which was launched in Japan in October 2008. In April 2009, Panasonic Lumix DMC-GH1 with HD video recording added to it. The first Olympus model, the Olympus PEN E-P1, was shipped in July 2009.
In August 2013 SVS Vistek GmbH in Seefeld, Germany introduced the first high-speed industrial MFT lens mount camera using 4/3" sensors from Truesense Imaging, Inc (formally Kodak sensors), now part of ON Semiconductor. Their Evo "Tracer" cameras range from 1 megapixels at 147 frames per second (fps) to 8 megapixels at 22 fps.
In 2014, JK Imaging Ltd., which holds the Kodak brand, released its first Micro Four Thirds camera, the Kodak Pixpro S-1; several lenses and niche camera makers have products made for the standard. In 2015, DJI provided its drone with optional MFT cameras. Both cameras can capture 16MP stills and up to 4K/30fps video with an option of 4 interchangeable lenses ranging from 12mm to 17mm. In 2016, Xiaoyi introduced the YI M1, a 20MP MFT camera with 4K video capability.
Blackmagic design has a range of cameras made for cinematography.
|Item||Model||Sensor||Electronic View Finder (EVF)||Announced|
|1||Panasonic Lumix DMC-G1||4:3, 13.1 MP (12.1 MP effective)||EVF; 1.4× magnification; 1.44M dots||October 2008|
|2||Panasonic Lumix DMC-GH1||4:3; 3:2; 16:9 (multi-aspect);
14.0 MP (12.1 MP effect)
|EVF; 1.4× mag; 1.44 M dots||April 2009|
|3||Olympus PEN E-P1||4:3, 13.1 MP (12.3 MP effect)||N/A||July 2009|
|4||Panasonic Lumix DMC-GF1||4:3, 13.1 MP (12.1 MP effect)||opt. EVF LVF1; 1.04× mag; 202 K dots||September 2009|
|5||Olympus PEN E-P2||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||November 2009|
|6||Olympus PEN E-PL1||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||February 2010|
|7||Panasonic Lumix DMC-G10||4:3, 13.1 MP (12.1 MP effect)||EVF; 1.04× magnification; 202 K dots||March 2010|
|8||Panasonic Lumix DMC-G2||4:3, 13.1 MP (12.1 MP effect)||EVF; 1.4× mag; 1.44 M dots||March 2010|
|9||Panasonic Lumix DMC-GH2||4:3; 3:2; 16:9 (multi-aspect);
18.3 MP (16.0 MP effect)
|EVF; 1.42× mag; 1.53 M dots||September 2010|
|10||Panasonic Lumix DMC-GF2||4:3, 13.1 MP (12.1 MP effect)||opt. EVF; 1.04× mag; 202 K dots||November 2010|
|11||Olympus PEN E-PL1s||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||November 2010|
|12||Olympus PEN E-PL2||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||January 2011|
|13||Panasonic Lumix DMC-G3||4:3, 16.6 MP (15.8 MP effect)||EVF; 1.4× mag; 1.44 M dots||May 2011|
|14||Panasonic Lumix DMC-GF3||4:3, 13.1 MP (12.1 MP effect)||N/A||June 2011|
|15||Olympus PEN E-P3||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||June 2011|
|16||Olympus PEN E-PL3||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||June 2011|
|17||Olympus PEN E-PM1||4:3, 13.1 MP (12.3 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||June 2011|
|18||Panasonic Lumix DMC-GX1||4:3, 16.6 MP (16 MP effect)||opt. EVF LVF2; 1.4× mag; 1.44 M dots||November 2011|
|19||Olympus OM-D E-M5||4:3, 16.9 MP (16.1 MP effect)||EVF; 1.15× mag; 1.44 M dots||February 2012|
|20||Panasonic Lumix DMC-GF5||4:3, 13.1 MP (12.1 MP effect)||N/A||April 2012|
|21||Panasonic Lumix DMC-G5||4:3, 18.3 MP (16.1 MP effect)||EVF; 1.4× mag; 1.44 M dots||July 2012|
|22||Panasonic Lumix DMC-GH3||4:3, 17.2 MP (16.05 MP effect)||EVF; 1.34× mag; 1.7 M dots||September 2012|
|23||Olympus PEN E-PL5||4:3, 16.9 MP (16.1 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||September 2012|
|24||Olympus PEN E-PM2||4:3, 16.9 MP (16.1 MP effect)||opt. EVF VF-2; 1.15× mag; 1.44 M dots||September 2012|
|25||Panasonic Lumix DMC-GF6||4:3, 16.9 MP (16.1 MP effect)||N/A||April 2013|
|26||Blackmagic Pocket Cinema Camera||16:9, 12.48×7.02 mm (sensor size),
1920 × 1080 (effective resolution)
|27||Panasonic Lumix DMC-G6||4:3, 18.3 MP (16.1 MP effect)||EVF; 1.4x mag; 1.44 M dots||April 2013|
|28||Olympus PEN E-P5||4:3, 16.05 MP (4/3 Live MOS sensor)||EVF VF-4||May 2013|
|29||Olympus PEN E-PL6||4:3, 16.05 MP (4/3 Live MOS sensor)||EVF VF-4||May 2013|
|30||Panasonic Lumix DMC-GX7||4:3, 16 MP (4/3 Live MOS sensor)||EVF||August 2013|
|31||Olympus OM-D E-M1||4:3, 16 MP (4/3 Live MOS sensor)||2.36 million dots EVF||September 2013|
|32||Panasonic Lumix DMC-GM1||4:3, 16 MP (4/3 Live MOS sensor)||N/A||October 2013|
|33||Kodak Pixpro S-1||4:3, 16 MP (4/3 CMOS sensor)||N/A||January 2014|
|34||Olympus OM-D E-M10||4:3, 16 MP (4/3 Live MOS sensor)||1.44 million dots EVF||January 2014|
|35||Panasonic Lumix DMC-GH4||4:3, 16 MP (4/3 Live MOS sensor)||2.36 million dots EVF||February 2014|
|36||Olympus PEN E-PL7||4:3, 17.2 MP (4/3 Live MOS sensor; 16.1 MP effect)||opt. 2.36 million dots EVF||August 2014|
|37||Panasonic Lumix DMC-GM5||4:3, 16 MP (4/3 Live MOS sensor)||1.16 million dots EVF||September 2014|
|38||Panasonic Lumix DMC-GF7||4:3, 17 MP (4/3 CMOS sensor; 16 MP effect)||N/A||January 2015|
|39||Olympus OM-D E-M5 II||4:3, 16 MP (4/3 Live MOS sensor)||2.36 million dots EVF||February 2015|
|40||Olympus Air||4:3, 16 MP (4/3 Live MOS sensor)||N/A||February 2015|
|41||JVC GY-LS300 4KCAM Handheld S35 mm Camcorder||Super-35 mm / 13.5 MP (CMOS sensor)||0.24" 1.56 MP, 16:9 EVF||February 2015|
|42||Panasonic Lumix DMC-G7||4:3, 16.8 MP||EVF; 1.4× mag; 2.36 M dots||May 2015|
|43||Panasonic Lumix DMC-GX8||4:3, 20 MP||EVF; 1.54× mag; 2.36 M dots||July 2015|
|44||Z CAM E1||4:3, 16 MP||N/A||July 2015 |
|45||Olympus OM-D E-M10 Mark II||4:3, 16 MP (4/3 Live MOS sensor)||EVF; 1.23x mag; 2.36 M dots||August 2015|
|46||DJI Zenmuse X5||4:3, 16 MP (4/3 Live MOS sensor)||N/A||September 2015|
|47||Olympus PEN-F||4:3, 20 MP (4/3 Live MOS sensor)||EVF; 1.08x to 1.23x mag; 2.36 M dots||February 2016|
|48||Panasonic Lumix DMC-GX80/DMC-GX85/GX7 Mark II||4:3, 16 MP (4/3 Live MOS sensor)||2.76 million dots EVF||April 2016|
|49||Panasonic Lumix DMC-G85/G80||4:3, 16MP (4/3 Live MOS sensor)||2.76 million dots EVF||September 2016|
|50||Olympus OM-D E-M1 Mark II||4:3, 20 MP (4/3 Live MOS sensor)||2.36 million dots EVF||19 September 2016|
|51||Olympus PEN E-PL8||4:3, 16 MP (4/3 Live MOS sensor)||19 September 2016|
|52||YI M1||4:3, 20 MP||September 2016|
|53||Panasonic Lumix DC-GH5||4:3, 20 MP (4/3 Live MOS sensor)||3.6 million dots EVF||January 2017|
|54||Panasonic Lumix DC-GF9/DC-GX800/DC-GX850||4:3, 16MP (4/3 Live MOS sensor)||January 2017|
|55||Olympus OM-D E-M10 Mark III||4:3, 16 MP (4/3 Live MOS sensor)||EVF; 1.23x mag; 2.36 M dots||September 2017|
|56||Panasonic Lumix DC-G9||4:3, 20 MP (4/3 Live MOS sensor)||3.68 Mdots EVF, 1.68x mag||November 2017|
|57||Panasonic Lumix DC-GH5S||4:3, 10 MP (4/3 Live MOS, Dual Native ISO)||EVF; 1.52× mag; 3.68 Mdots||Jan 2018|
|58||Panasonic Lumix DC-GX9||4:3, 20 MP (4/3 Live MOS)||EVF; 1.39× mag; 2.76 Mdots||Feb 2018|
|59||Olympus PEN E-PL9||4:3, 16 MP (4/3 Live MOS sensor||No EVF||Feb 2018|
|60||Panasonic Lumix DC-GF10/DC-GF90/DC-GX880||4:3, 16 MP (4/3 Live MOS sensor||No EVF||Feb 2018|
|61||Blackmagic Pocket Cinema Camera 4K||16:9, 4096 x 2160 (effective resolution)||N/A||April 2018|
|62||Panasonic Lumix DC-G90/G91/G95||4:3, 20 MP (4/3 Live MOS sensor)||2.36 million dots EVF||April 2019|
|63||Olympus OM-D E-M1X||4:3, 20 MP (4/3 Live MOS sensor)||2.36 M-dot LCD Viewfinder / 120 Hz||May 2019|
|64||Olympus OM-D E-M5 Mark III||4:3, 20 MP (4/3 Live MOS sensor)||2.36 M-dot LCD Viewfinder||Oct 2019|
|65||Olympus PEN E-PL10||4:3, 16 MP (4/3 Live MOS sensor)||No EVF||November 2019|
|66||Olympus OM-D E-M1 Mark III||4:3, 20 MP (4/3 Live MOS sensor)||2.36 M-dot LCD Viewfinder||Feb 2020|
|67||Panasonic Lumix DC-G100||4:3, 20.3 MP (4/3 Live MOS sensor)||3.68 M-dot LCD Viewfinder||June 2020|
|68||Olympus OM-D E-M10 Mark IV||4:3, 20 MP (4/3 Live MOS sensor)||2.36 M-dot LCD Viewfinder||Aug 2020|
|69||Panasonic Lumix DC-GH5M2||4:3, 20.3 MP (4/3 Live MOS sensor)||3.68 M-dot OLED Viewfinder||May 2021|
|70||Olympus PEN E-P7||4:3, 20.3 MP (4/3 Live MOS sensor)||No EVF||June 2021|
|71||OM System OM-1||4:3, 20 MP (4/3 Stacked CMOS sensor)||5.76 M-dot OLED Viewfinder||February 2022|
|72||Panasonic Lumix DC-GH6||4:3, 25MP (4/3 Live MOS)||February 2022|
|73||OM System OM-5||4:3, 20 MP (4/3 Live MOS)||2.36 M-dot OLED Viewfinder||November 2022|
Because the flange focal distance of Micro Four Thirds cameras are shorter than DSLRs, most lenses are smaller and cheaper.
Of particular interest in illustrating this fact are the Panasonic 7–14 mm ultra-wide angle (equivalent to 14–28 mm in the 35 mm film format) and the Olympus M.Zuiko Digital ED 9–18 mm ultra wide-angle lens (equivalent to an 18–36 mm zoom lens in the 35 mm film format). This feature also permitted the lens designers to develop the world's fastest fisheye lens with autofocus, the Olympus ED 8 mm f/1.8.
On the telephoto end, the Panasonic 100–300 mm or the Leica DG 100-400 mm as well as the Olympus 75–300 mm zooms show how small and light extreme telephotos can be made. The 400 mm focal length in Micro Four Thirds has the same angle of view as an 800 mm focal length in full frame cameras.
When compared to a full frame camera lens providing a similar angle of view, rather than weighing a few kilograms (several pounds) and generally having a length of over 60 cm (2 ft) end to end, the optically stabilized Panasonic Lumix G Vario 100–300 mm lens weighs just 520 grams (18.3 oz), is only 126 mm (5.0 in) long, and uses a relatively petite 67 mm filter size. As a point of comparison, the Nikon 600 mm f5.6 telephoto weighs 3600 grams (7.9 lb), is 516.5 mm (20.3 in) in length and uses a custom 122 mm filter.
Olympus and Panasonic have both produced cameras with sensor-based stabilization, and lenses with stabilization. However, the lens stabilization will only work together with body stabilization for cameras of the same brand. Before 2013, Olympus and Panasonic approached image stabilization (IS) differently. Olympus used sensor-shift image stabilization only, which it calls IBIS (In-Body Image Stabilization), a feature included all of its cameras. Until 2013, Panasonic used lens-based stabilization only, called Mega OIS or Power OIS. These stabilize the image by shifting a small optical block within the lens.
In 2013, Panasonic began including sensor-based stabilization in its cameras, beginning with the Lumix DMC-GX7. Panasonic called the combination of lens and body stabilization "Dual IS," and this function won an award of the European Imaging and Sound Association (EISA) in the category Photo Innovation 2016–2017. In 2016, Olympus added lens-based stabilization to the M. Zuiko 300mm f/4.0 Pro telephoto prime lens and the M. Zuiko 12-100mm f/4.0 IS Pro lens.
Panasonic claims that OIS is more accurate because the stabilization system can be designed for the particular optical characteristics of each lens. A disadvantage of this approach is that the OIS motor and shift mechanism must be built into each lens, making lenses more expensive than comparable non-OIS lenses. Of all Panasonic lenses only few with short focal lengths, and therefore wide angles of view and low susceptibility to image shaking, are not image stabilized, including the 8 mm fisheye, 7–14 mm wide angle zoom, 14 mm prime, the 15 mm prime, the 20 mm prime and the 25 mm prime.
The advantage of in-body IS is that even unstabilized lenses can make use of the in-body stabilization.
Since most Micro Four Thirds lenses have neither a mechanical focusing ring nor an aperture ring, adapting these lenses for other camera mounts is impossible or compromised. A variety of companies manufacture adapters to use lenses from nearly any legacy lens mount (such lenses, of course, support no automatic functions.) For the Four Third lenses that can be mounted on MFT bodies, see Four Thirds system lenses. For the Four Third lenses that support AF, see the Olympus website. For those that support fast AF (Imager AF), see the Olympus website.
|Brand||Product Name||Focal Length||35mm equivalent focal length||Aperture||Weight (gr)||Remarks|
|Olympus||Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO||7-14mm||14-28mm||f/2.8||535||weather-sealed, 7.5 cm minimum focus distance (magnification 0.3x)|
|Olympus||Olympus M.Zuiko Digital ED 8-25mm f/4 PRO||8-25mm||16-50mm||f/4||411||weather-sealed, announced June 2021|
|Olympus||Olympus M.Zuiko Digital ED 9-18mm f/4-5.6||9-18mm||18-36mm||f/4.0-5.6||155|
|Panasonic||Panasonic Lumix G Vario 7-14mm f/4 Asph.||7-14mm||14-28mm||f/4||300|
|Panasonic||Panasonic Leica DG Vario-Elmar 8-18mm f/2.8-4 Asph.||8-18mm||16-36mm||f/2.8-4||315||Splash / Dust / Freezeproof. Announced April 2017|
|Panasonic||Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Asph.||10-25mm||20-50mm||f/1.7||690||Splash / Dust / Freezeproof. Announced May 2019|
|Brand||Product Name||Focal Length||35mm EFL||Aperture||Weight (gr)||Remarks|
|Olympus||Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO||12-40mm||24-80mm||f/2.8||380||weather-sealed, announced September 2013|
|Olympus||Olympus M.Zuiko Digital ED 12-45mm f/4 PRO||12-45mm||24-90mm||f/4||254||weather-sealed, announced February 2020|
|Olympus||Olympus M.Zuiko Digital ED 12-50mm f/3.5-6.3 EZ||12-50mm||24-100mm||f/3.5–6.3||210||weather-sealed|
|Olympus||Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6||14-42mm||28-84mm||f/3.5–5.6||150||discontinued|
|Olympus||Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6 L||14-42mm||28-84mm||f/3.5–5.6||133||discontinued|
|Olympus||Olympus M.Zuiko Digital 14-42mm f/3.5-5.6 II MSC||14-42mm||28-84mm||f/3.5–5.6||115||discontinued|
|Olympus||Olympus M.Zuiko Digital 14-42mm f/3.5-5.6 IIR MSC||14-42mm||28-84mm||f/3.5–5.6||115|
|Olympus||Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ||14-42mm||28-84mm||f/3.5–5.6||95||announced January 2014|
|OM System||OM System M.Zuiko Digital ED 12–40mm f/2.8 PRO II||12-40mm||24-80mm||f/2.8||382||IP53 weather-sealed, announced February 2022|
|Panasonic||Panasonic Lumix G Vario 12-32mm f/3.5–5.6 Asph., Mega O.I.S.||12-32mm||24-64mm||f/3.5–5.6||70||announced October 2013|
|Panasonic||Panasonic Lumix G X Vario 12-35mm f/2.8 Asph., Power O.I.S.||12-35mm||24-70mm||f/2.8||305||discontinued, announced in 2012|
|Panasonic||Panasonic Lumix G X Vario 12-35mm f/2.8 II Asph., Power O.I.S.||12-35mm||24-70mm||f/2.8||305||announced at CES in 2017|
|Panasonic||Panasonic Lumix G Vario 14-42mm f/3.5–5.6 Asph., Mega O.I.S.||14-42mm||28-84mm||f/3.5–5.6||165|
|Panasonic||Panasonic Lumix G Vario 14-42mm f/3.5–5.6 II Asph., Mega O.I.S.||14-42mm||28-84mm||f/3.5–5.6||110||announced 29 January 2013|
|Panasonic||Panasonic Lumix G X Vario PZ 14-42mm f/3.5–5.6 Asph., Power O.I.S.||14-42mm||28-84mm||f/3.5–5.6||95||announced 26 August 2011|
|Panasonic||Panasonic Lumix G Vario 14-45mm f/3.5–5.6 Asph., Mega O.I.S.||14-45mm||28-90mm||f/3.5–5.6||195|
|Panasonic||Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8–4 Asph., Power O.I.S.||12-60mm||24-120mm||f/2.8–4||320||weather-sealed, announced 4 January 2017|
|Panasonic||Panasonic Lumix G Vario 12-60mm f/3.5–5.6 Asph., Power O.I.S.||12-60mm||24-120mm||f/3.5–5.6||210||weather-sealed, announced 24 February 2016|
|YI||YI Xiaoyi 12-40mm f/3.5-5.6||12-40mm||24-80mm||f/3.5-5.6|
|Kodak||Kodak PixPro 12-45mm f/3.5-6.3 Aspheric ED||12-45mm||24-90mm||f/3.5-6.3|
|Brand||Product Name||Focal Length||35mm equivalent focal length||Aperture||Weight (gr)||Remarks|
|Olympus||Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO||40-150mm||80-300mm||f/2.8||880||weather-sealed, announced September 2013|
|Olympus||Olympus M.Zuiko Digital ED 40-150mm f/4-5.6||40-150mm||80-300mm||f/4-5.6||190||discontinued, announced September 2010|
|Olympus||Olympus M.Zuiko Digital ED 40-150mm f/4-5.6 R||40-150mm||80-300mm||f/4-5.6||190|
|Olympus||Olympus M.Zuiko Digital ED 75-300mm f/4.8-6.7||75-300mm||150-600mm||f/4.8-6.7||430||discontinued|
|Olympus||Olympus M.Zuiko Digital ED 75-300mm f/4.8-6.7 II||75-300mm||150-600mm||f/4.8-6.7||430|
|Olympus||Olympus M.Zuiko Digital ED 100-400mm f/5.0-6.3 IS||100-400mm||200-800mm||f/5.0-6.3||1120||(announced 4 August 2020)|
|Olympus||Olympus M.Zuiko Digital ED 150-400mm f/4.5 IS PRO||150-400mm
|1875||announced 24 Jan 2019; includes 1.25× teleconverter (values in brackets are with teleconverter engaged).|
|OM System||OM System M.Zuiko Digital ED 40–150mm f/4 PRO||40-150mm||80-300mm||f/4||382||IP53 weather-sealed, announced February 2022|
|Panasonic||Panasonic Lumix G X Vario 35-100mm f/2.8, Power O.I.S.||35-100mm||70-200mm||f/2.8||360||weather-sealed, announced 17 September 2012|
|Panasonic||Panasonic Lumix G Vario 35-100mm f/4–5.6 Asph., Mega O.I.S.||35-100mm||70-200mm||f/4-5.6||135|
|Panasonic||Panasonic Lumix G Vario 45-150mm f/4–5.6 Asph., Mega O.I.S.||45-150mm||90-300mm||f/4-5.6||200||announced 18 July 2012|
|Panasonic||Panasonic Lumix G X Vario PZ 45-175mm f/4–5.6 Asph., Power O.I.S.||45-175mm||90-350mm||f/4-5.6||210|
|Panasonic||Panasonic Lumix G Vario 45-200mm f/4–5.6, Mega O.I.S.||45-200mm||90-400mm||f/4-5.6||380|
|Panasonic||Panasonic Lumix G Vario 45-200mm f/4–5.6 II, Power O.I.S||45-200mm||90-400mm||f/4-5.6||380||weather-sealed|
|Panasonic||Panasonic Leica DG Vario-Elmarit 50–200mm f/2.8–4 Asph., Power O.I.S.||50-200mm||100-400mm||f/2.8-4||655||announced 26 February 2018|
|Panasonic||Panasonic Lumix G Vario 100-300mm f/4–5.6, Mega O.I.S.||100-300mm||200-600mm||f/4-5.6||520||discontinued|
|Panasonic||Panasonic Lumix G Vario 100-300mm f/4-5.6 II Power O.I.S||100-300mm||200-600mm||f/4-5.6||520||upgraded support for harsh weather conditions (splashproof/dustproof)|
|Panasonic||Panasonic Leica DG Vario-Elmar 100-400 mm f/4.0-6.3 Asph., Power O.I.S.||100-400mm||200-800mm||f/4.0-6.3||985||weather-sealed, announced 5 January 2016|
|Kodak||Kodak PixPro 42.5-160mm f/3.9-5.9 SZ ED||42.5-160mm||85-320mm||f/3.9-5.9|
|Brand||Product Name||Focal Length||35mm EFL and aperture||Aperture||Weight (gr)||Remarks|
|Olympus||Olympus M.Zuiko ED 12-100mm f/4.0 IS PRO||12-100mm||24-200mm f/8||f/4.0||561||announced 19 September 2016|
|Olympus||Olympus M.Zuiko Digital ED 12-200mm f/3.5-6.3||12-200mm||24-400mm f/7-12.6||f/3.5-6.3||455||announced 13 February 2019|
|Olympus||Olympus M.Zuiko Digital ED 14-150mm f/4-5.6||14-150mm||28-300mm f/8-11.2||f/4-5.6||280||discontinued|
|Olympus||Olympus M.Zuiko Digital ED 14-150mm f/4-5.6 II||14-150mm||28-300mm f/8-11.2||f/4-5.6||280||announced 5 February 2015|
|Panasonic||Panasonic Lumix G Vario 14-140mm f/3.5-5.6 Asph. Power O.I.S.||14-140mm||28-280mm f/7-11.2||f/3.5-5.6||265||announced 24 April 2013.|
|Panasonic||Panasonic Lumix G Vario HD 14-140mm f/4–5.8 Mega O.I.S.||14-140mm||28-280mm f/8-11.6||f/4-5.8||460||discontinued|
|Tamron||Tamron 14-150mm Di III VC f/3.5-5.8 Di III VC (Model C001)||14-150mm||28-300mm f/7-11.6||f/3.5-5.8||280||announced 29 January 2013|
On Jan 9, 2012 Sigma announced its first two lenses for Micro Four Thirds, the "30mm f/2.8 EX DN and the 19mm f/2.8 EX DN lenses in Micro Four Thirds mounts". In a press release posted on January 26, 2012, Olympus and Panasonic jointly announced that "ASTRODESIGN, Inc., Kenko Tokina Co., Ltd. and Tamron Co., Ltd. join[ed] the Micro Four Thirds System Standard Group". On January 26, 2012, Tokina and Tamron have indicated they would be designing lenses for the Micro 4/3 system as well. To date, both have released a single lens for the system, each.
This list does not include fisheye and macro lenses (see below).
|Brand||Product Name||Focal Length||35mm equivalent focal length||Max. aperture||Weight (gr)||Remarks|
|YONGNUO||YONGNUO YN25mm F1.7M||25mm||50mm||f/1.7||150||Price $115|
|YONGNUO||YONGNUO YN42.5mm F1.7||42.5mm||85mm||f/1.7||146||Price $138|
|YONGNUO||YONGNUO YN42.5mm F1.7M II||42.5mm||85mm||f/1.7||146||II version have different case design and focuses much quieter|
|Olympus||Olympus M.Zuiko Digital ED 12mm f/2||12mm||24mm||f/2||130|||
|Olympus||Olympus M.Zuiko Digital ED 17mm f/1.2 PRO||17mm||34mm||f/1.2||390||(announced 25 October 2017)|
|Olympus||Olympus M.Zuiko Digital 17mm f/1.8||17mm||34mm||f/1.8||120|
|Olympus||Olympus M.Zuiko Digital 17mm f/2.8||17mm||34mm||f/2.8||70|
|Olympus||Olympus M.Zuiko Digital ED 25mm f/1.2 PRO||25mm||50mm||f/1.2||410||(announced 19 September 2016)|
|Olympus||Olympus M.Zuiko Digital 25mm f/1.8||25mm||50mm||f/1.8||140||(announced 27 January 2014)|
|Olympus||Olympus M.Zuiko Digital 45mm f/1.8||45mm||90mm||f/1.8||115|||
|Olympus||Olympus M.Zuiko Digital ED 45mm f/1.2 PRO||45mm||90mm||f/1.2||410||(announced 25 October 2017)|
|Olympus||Olympus M.Zuiko Digital ED 75mm f/1.8||75mm||150mm||f/1.8||305|
|Olympus||Olympus M.Zuiko Digital ED 300mm f/4 PRO||300mm||600mm||f/4.0||1270[table 1]||weather-sealed, image stabilization (announced 6 January 2016)|
|OM System||OM System M.Zuiko Digital ED 20mm f/1.4 PRO||20mm||40mm||f/1.4||247||weather-sealed (announced November 2021)|
|Panasonic||Panasonic Leica DG Summilux 9mm f/1.7 Asph.||9mm||18mm||f/1.7||130||(announced 17 May 2022) |
|Panasonic||Panasonic Leica DG Summilux 12mm f/1.4 Asph.||12mm||24mm||f/1.4||335||(announced 15 June 2016)|
|Panasonic||Panasonic Lumix G 14mm f/2.5 Asph.||14mm||28mm||f/2.5||55||discontinued|
|Panasonic||Panasonic Lumix G 14mm f/2.5 II Asph.||14mm||28mm||f/2.5||55|
|Panasonic||Panasonic Leica DG Summilux 15mm f/1.7 Asph.||15mm||30mm||f/1.7||115||(announced 17 October 2013)|
|Panasonic||Panasonic Lumix G 20mm f/1.7 Asph.||20mm||40mm||f/1.7||100||discontinued|
|Panasonic||Panasonic Lumix G 20mm f/1.7 II Asph.||20mm||40mm||f/1.7||87||(announced 27 June 2013)|
|Panasonic||Panasonic Leica DG Summilux 25mm f/1.4 Asph.||25mm||50mm||f/1.4||200||(announced 13 June 2011)|
|Panasonic||Panasonic Lumix G 25mm f/1.7 Asph.||25mm||50mm||f/1.7||125||(announced 2 September 2015)|
|Panasonic||Panasonic Leica DG Nocticron 42.5mm f/1.2 Asph. Power O.I.S.||42.5mm||85mm||f/1.2||425||(announced 1 August 2013)|
|Panasonic||Panasonic Lumix G 42.5mm f/1.7 Asph. Power O.I.S.||42.5mm||85mm||f/1.7||130|
|Panasonic||Panasonic Leica DG Elmarit 200mm f/2.8 Power O.I.S.||200mm||400mm||f/2.8||1245||(announced 8 November 2017)|
|Sigma||Sigma 16mm f/1.4 DC DN | Contemporary||16mm||32mm||f/1.4||405||(announced 24 October 2017)|
|Sigma||Sigma 19mm f/2.8 DN Art||19mm||38mm||f/2.8||140|
|Sigma||Sigma 19mm f/2.8 EX DN||19mm||38mm||f/2.8||140||discontinued |
|Sigma||Sigma 30mm f/1.4 DC DN | Contemporary||30mm||60mm||f/1.4||264|
|Sigma||Sigma 30mm f/2.8 DN Art||30mm||60mm||f/2.8||130|
|Sigma||Sigma 30mm f/2.8 EX DN||30mm||60mm||f/2.8||130||discontinued |
|Sigma||Sigma 56mm f/1.4 DC DN | Contemporary||56mm||112mm||f/1.4||280||(announced 24 October 2017)|
|Sigma||Sigma 60mm f/2.8 DN Art||60mm||120mm||f/2.8||190|
|DJI||DJI 15mm f/1.7 Asph.||15mm||30mm||f/1.7||115||Rebadged Panasonic Leica DG Summilux 15mm f/1.7 Asph.|
|YI||YI Xiaoyi 42.5mm f/1.8||42.5mm||85mm||f/1.8||Has macro mode, no manual-focus ring|
|Brand||Product Name||Focal Length||35mm EFL||Max. aperture||Weight (gr)||Remarks|
|Olympus||Olympus M.Zuiko Digital ED 30mm f/3.5 Macro||30mm||60mm||f/3.5||128|
|Olympus||Olympus M.Zuiko Digital ED 60mm f/2.8 Macro||60mm||120mm||f/2.8||185||weather-sealed|
|Panasonic||Panasonic Leica DG Macro-Elmarit 45mm f/2.8 Asph.||45mm||90mm||f/2.8||225|
|Panasonic||Panasonic Lumix G Macro 30mm f/2.8 MEGA O.I.S||30mm||60mm||f/2.8||180|
|Venus Optics||Laowa 50mm f/2.8 2X Ultra Macro APO||50mm||100mm||f/2.8||240||(announced 17 August 2020)|
|Mitakon||Mitakon Creator 20mm f/2 4-4.5x||20mm||40mm||f/2|||
|Mitakon||Mitakon Creator 85mm f/2.8 1-5X Super Macro||85mm||170mm||f/2.8|||
|TTArtisan||TTArtisan 40mm f/2.8 Maro MFT||40mm||80mm||f/2.8||~371||1:1 Magnification macro lens
17 cm closest focusing distance
|7artisans||7artisans 60mm f/2.8 Macro MFT||60mm||120mm||f/2.8||550||1:1 Magnification macro lens
26 cm closest focusing distance
|7artisans||7artisans 60mm f/2.8 Macro MFT II||60mm||120mm||f/2.8||399||1:1 Magnification macro lens
17.5 cm closest focusing distance
|Yasuhara||Yasuhara Nanoha x5 f/11 Macro||f/11||310|||
|Meike||Meike 85mm f/2.8 Manual Focus Macro||85mm||170mm||f/2.8||500|||
|Brand||Product Name||Focal Length||35mm EFL||Max. aperture||Weight (gr)||Remarks|
|Entaniya||Fisheye HAL 250 MFT 2.3||2.3mm||4.6mm||f/2.8||≈1700||250° Field of view|
|Entaniya||Fisheye HAL 250 MFT 3.0||3.0mm||6mm||f/2.8||≈1700||250° Field of view|
|Meike||MK-3.5mm f/2.8 Fisheye||3.5mm||7mm||f/2.8||190||220° Field of view |
|Entaniya||Fisheye HAL 250 MFT 3.6||3.6mm||7.2mm||f/2.8||≈1700||250° Field of view|
|Entaniya||Fisheye HAL 200 MFT 3.6||3.6mm||7.2mm||f/4.0||860||200° Field of view|
|Venus Optics||Laowa 4 mm f/2,8||4mm||8mm||f/2.8||135||210° Field of view|
|Lensbaby||Lensbaby 5.8mm f/3.5 Circular Fisheye||5.8mm||11.6mm||f/3.5||220||185° Field of view|
|Meike||MK-6.5mm f/2.0 Fisheye||6.5mm||13mm||f/2.0||300||190° Field of view |
|Meike||MK-8mm f/3.5 Fisheye||8mm||16mm||f/3.5||519||200° Field of view |
|Olympus||Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO||8mm||16mm||f/1.8||315||weather-sealed, 2.5 cm minimum focus distance|
|Olympus||Olympus 9mm f/8 Fisheye Body Cap||9mm||18mm||f/8.0||30||Fixed aperture, manual focus|
|Panasonic||Panasonic Lumix G Fisheye 8mm f/3.5||8mm||16mm||f/3.5||165|||
|Samyang||Samyang 7.5mm f/3.5 UMC Fish-eye MFT||7.5mm||15mm||f/3.5||190||Manual focus. Also sold under Walimex,|
Bower, and Rokinon brand names
|Samyang||Rokinon 8mm f/3.5 UMC Fisheye CS II||8mm||16mm||f/3.5||450||Manual focus|
|Samyang||Rokinon 9mm f/8.0 RMC||9mm||18mm||f/8.0||220||Manual focus|
|Samyang||Samyang 12mm f/2.8 ED AS NCS FISH-EYE||12mm||24mm||f/2.8||520|||
|7artisans||7artisans 7.5mm f/2.8 Fisheye MFT||7.5mm||15mm||f/2.8||278||Manual focus|
|Peleng||Peleng 8mm f/3.5 Fisheye||8mm||16mm||f/3.5||400|| Manual focus|
|TTArtisan||TTArtisan 7.5mm f/2 Fisheye MFT||7.5mm||15mm||f/2||~343||Manual focus|
|Brand||Product Name||Focal Length||35mm EFL and aperture||Max. aperture||Weight (gr)||Remarks|
|Olympus||Olympus 15mm f/8 Body Cap||15mm||30mm f/16||f/8||22||Fixed aperture|
|Cosina Voigtländer||Cosina Voigtländer Nokton 10.5mm f/0.95||10.5mm||21mm f/1.9||f/0.95||585|||
|Cosina Voigtländer||Cosina Voigtländer Nokton 17.5mm f/0.95||17.5mm||35mm f/1.9||f/0.95||540|||
|Cosina Voigtländer||Cosina Voigtländer Nokton 25mm f/0.95||25mm||50mm f/1.9||f/0.95||435|||
|Cosina Voigtländer||Cosina Voigtländer Nokton 29mm f/0.8||29mm||58mm f/1.6||f/0.8||700|||
|Cosina Voigtländer||Cosina Voigtländer Nokton 42.5mm f/0.95||42.5mm||85mm f/1.9||f/0.95||571|
|Cosina Voigtländer||Cosina Voigtländer Nokton 60mm f/0.95||60mm||120mm f/1.9||f/0.95||860|||
|Cosina Voigtländer||Cosina Voigtländer Nokton 60mm f/0.95 II||60mm||120mm f/1.9||f/0.95||435|||
|Meike||Meike 12mm f/2.8||12mm||24mm f/5.6||f/2.8||380|||
|Meike||Meike 25mm f/0.95||25mm||50mm f/1.8||f/0.95||540|||
|Meike||Meike 28mm f/2.8||28mm||56mm f/5.6||f/2.8||102|
|Meike||Meike 35mm f/1.7||35mm||56mm f/3.4||f/1.7||172|||
|Meike||Meike 50mm f/2.0||50mm||100mm f/4.0||f/2.0||185|||
|Sirui||Sirui 35mm f/1.8 Anamorphic 1.33x||35mm||70mm f/3.6||f/1.8||700||(announced 7 July 2020)|
|Sirui||Sirui 50mm f/1.8 Anamorphic 1.33x||50mm||100mm f/3.6||f/1.8||560||(announced 16 September 2019)|
|SLR Magic||SLR Magic Toy Lens 11mm f/1.4||11mm||22mm f/2.8||f/1.4|
|SLR Magic||SLR Magic Toy Lens 26mm f/1.4||26mm||52mm f/2.8||f/1.4|
|SLR Magic||SLR Magic 8mm f/4.0||8mm||16mm f/8||f/4|
|SLR Magic||SLR Magic 10mm HyperPrime CINE T2.1||10mm||20mm f/4.2||f/2.1|
|SLR Magic||SLR Magic HyperPrime CINE 12mm T1.6||12mm||24mm f/3.2||f/1.6||15 cm minimum focusing distance|
|SLR Magic||SLR Magic CINE 17mm T1.6||17mm||34mm f/3.2||f/1.6|
|SLR Magic||SLR Magic HyperPrime CINE II 25mm T0.95||25mm||50mm f/1.9||f/0.95|
|SLR Magic||SLR Magic 35mm CINE Mark II T1.4||35mm||70mm f/2.8||f/1.4|
|SLR Magic||SLR Magic 35mm f/1.7||35mm||70mm f/3.4||f/1.7|
|SLR Magic||SLR Magic HyperPrime CINE 35mm T0.95||35mm||70mm f/1.9||f/0.95||APS-H Leica M mount lens with adapter|
|SLR Magic||SLR Magic ANAMORPHOT-CINE 35mm T2.4||35mm||70mm f/4.8||f/2.4|
|SLR Magic||SLR Magic ANAMORPHOT-CINE 50mm T2.8||50mm||100mm f/5.6||f/2.8|
|SLR Magic||SLR Magic HyperPrime 50mm f/0.95||50mm||100mm f/1.9||f/0.95|
|SLR Magic||SLR Magic APO-HyperPrime 50mm T2.1||50mm||100mm f/4.2||f/2.1|
|SLR Magic||SLR Magic ANAMORPHOT-CINE 70mm T4||70mm||140mm f/8||f/4|
|Handevision||Handevision Ibelux 40mm f/0.85||40mm||80mm f/1.7||f/0.85|||
|Meyer Görlitz||Nocturnus 35mm f/0.95||35mm||70mm f/1.9||f/0.95|
|Mitakon||Mitakon 24mm f/1.7||24mm||48mm f/3.4||f/1.7|
|Mitakon||Mitakon Speedmaster 17mm f/0.95||17mm||34mm f/1.9||f/0.95|||
|Mitakon||Mitakon Speedmaster 25mm f/0.95||25mm||50mm f/1.9||f/0.95|
|Mitakon||Mitakon Speedmaster 35mm f/0.95||35mm||70mm f/1.9||f/0.95|
|Mitakon||Mitakon 42.5mm f/1.2||42.5mm||85mm f/2.4||f/1.2|
|Tokina||Tokina Reflex 300mm f/6.3 MF Macro||300mm||600mm f/12.6||f/6.3||298|
|TTArtisan||TTArtisan 17mm f/1.4 MFT||17mm||34mm f/2.8||f/1.4|||
|TTArtisan||TTArtisan 35mm f/1.4 MFT||35mm||70mm f/2.8||f/1.4||180|
|TTArtisan||TTArtisan 50mm f/1.2 MFT||50mm||100mm f/2.4||f/1.2||336||Very bright maximum aperture|
|TTArtisan||TTArtisan 23mm f/1.4 MFT||23mm||46mm f/2.8||f/1.4||~222|
|Kowa||Kowa Prominar 8.5mm f/2.8 MFT||8.5mm||17mm f/5.6||f/2.8||440||Super-wide angle|
|Kowa||Kowa Prominar 12mm f/1.8 MFT||12mm||24mm f/3.6||f/1.8||475|
|Kowa||Kowa Prominar 25mm f/1.8 MFT||25mm||50mm f/3.6||f/1.8||400|
|Samyang||Samyang 10mm f/2.8 ED AS NCS CS||10mm||20mm f/5.6||f/2.8||Also sold under Rokinon brand name.|
|Samyang||Samyang 12mm f/2.0 NCS CS||12mm||24mm f/4||f/2.0||Also sold under Rokinon brand name.|
|Samyang||Samyang 14mm f/2.8 ED AS IF UMC||14mm||28mm f/5.6||f/2.8||570|||
|Samyang||Samyang 14mm f/2.8 MK2||14mm||28mm f/5.6||f/2.8||692|||
|Samyang||Rokinon 16mm f/2.0 ED AS UMC CS||16mm||32mm f/4||f/2.0|
|Samyang||Samyang 20mm f/1.8 ED AS UMC||20mm||40mm f/3.6||f/1.8||520|||
|Samyang||Rokinon 21mm f/1.4||21mm||42mm f/2.8||f/1.4||CINE versions available.|
|Samyang||Samyang 24mm f/1.4 ED AS IF UMC||24mm||48mm f/2.8||f/1.4||Also sold under Rokinon brand name.|
|Samyang||Samyang 35mm f/1.2 ED AS UMC CS||35mm||70mm f/2.4||f/1.2|||
|Samyang||Samyang 35mm f/1.4 AS UMC||35mm||70mm f/2.8||f/1.4||Also sold under Rokinon brand name.|
|Samyang||Rokinon 50mm f/1.2||50mm||100mm f/2.4||f/1.2||CINE versions available.|
|Samyang||Samyang 50mm f/1.4 AS UMC||50mm||100mm f/2.8||f/1.4||555|||
|Samyang||Rokinon 85mm f/1.4 AS IF UMC||85mm||170mm f/2.8||f/1.4|
|Samyang||Samyang 85mm f/1.8 ED UMC CS||85mm||170mm f/3.2||f/1.8||356|||
|Samyang||Samyang 100mm f/2.8 ED UMC MACRO||100mm||200mm f/5.6||f/2.8||725|||
|Samyang||Rokinon 135mm f/2.0 ED UMC||135mm||270mm f/4||f/2.0|
|Samyang||Rokinon Reflex 300mm f/6.3 ED UMC CS||300mm||600mm f/12.6||f/6.3|
|Venus Optics||Laowa 7.5mm f/2.0||7.5mm||15mm f/4||f/2.0||200 (150)||Rectilinear, (announced 14 Sept 2016)|
|Venus Optics||Laowa 10mm f/2 Zero-D MFT||10mm||20mm f/4||f/2.0||125|||
|Venus Optics||Laowa 17mm f/1.8 MFT||17mm||34mm f/3.6||f/1.8||172|||
|Veydra||Veydra Mini Prime 12mm T2.2||12mm||24mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 16mm T2.2||16mm||32mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 19mm T2.2||19mm||38mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 25mm T2.2||25mm||50mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 35mm T2.2||35mm||70mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 50mm T2.2||50mm||100mm f/4.4||f/2.2|
|Veydra||Veydra Mini Prime 85mm T2.2||85mm||170mm f/4.4||f/2.2||(announced 12 April 2015)|
|7artisans||7artisans 18mm f/6.3 UFO MFT||18mm||36mm f/12.6||f/6.3||49|
|7artisans||7artisans 25mm f/1.8 MFT||25mm||50mm f/3.6||f/1.8||143||Available in Black or Gold/Silver|
|7artisans||7artisans 50mm f/1.8 MFT||50mm||100mm f/3.6||f/1.8||168|
|7artisans||7artisans 55mm f/1.4 MFT||55mm||110mm f/2.8||f/1.4||272||Available in Black or Silver|
|7artisans||7artisans 35mm f/1.4 MFT||35mm||70mm f/2.8||f/1.4||228||Available in Black or Silver|
|7artisans||7artisans 35mm f/1.2 MFT||35mm||70mm f/2.4||f/1.2||150||Available in Black or Silver|
|7artisans||7artisans 12mm f/2.8 MFT||12mm||24mm f/5.6||f/2.8||295|
|7artisans||7artisans 35mm f/0.95 MFT||35mm||70mm f/1.9||f/0.95||369||Ultra-bright maximum aperture|
|7artisans||7artisans 50mm f/0.95 MFT||50mm||100mm f/1.9||f/0.95||416||Ultra-bright maximum aperture|
|Lensbaby||Lensbaby Velvet 28mm f/2.5||28mm||56mm f/5||f/2.5||454|||
|Lensbaby||Lensbaby Velvet 56mm f/1.6||56mm||112mm f/3.2||f/1.6||410|||
|Lensbaby||Lensbaby Velvet 85mm f/1.8||85mm||170mm f/3.6||f/1.8||530|||
|Kodak||Kodak Pixpro SF 400mm f/6.7 Fieldscope||400mm||800mm f/13,4||f/6.7||640|||
|Jackar||Jackar SnapShooter 34mm f/1.8||34mm||68mm f/3,6||f/1.8||145|||
|Zonlai||Zonlai 22mm f/1.8||22mm||44mm f/3,6||f/1.8|||
|Zonlai||Zonlai 25mm f/1.8||25mm||50mm f/3,6||f/1.8|||
|Zonlai||Zonlai 35mm f/1.6||35mm||70m f/3,2||f/1.6|||
|Zonlai||Zonlai 35mm f/1.8||35mm||70m f/3,6||f/1.8||140|||
|Zonlai||Zonlai 50mm f/1.4||50mm||100m f/2,8||f/1.4|||
On July 27, 2010, Panasonic announced the development of a three-dimensional optic solution for the Micro Four Thirds system. A specially designed lens allows it to capture stereo images compatible with VIERA 3D-TV-sets and Blu-ray 3D Disc Players.
((cite web)): CS1 maint: archived copy as title (link)
((cite web)): CS1 maint: archived copy as title (link)