The Best Micro Four Thirds Lenses for 2023

Interchangeable lens cameras offer a lot more creative flexibility and control than smartphones and point-and-shoots. Buying a camera with swappable lenses lets you change your angle of view, and take advantage of specialty optics for macro and fish-eye shots.

You do need to make sure you're getting the right type of lens for your camera. In this guide, we cover lenses for the Micro Four Thirds system. It's the oldest modern mirrorless system and one that multiple camera and lens makers support.

Micro Four Thirds cameras first went on sale in 2008. At the time, the mirrorless concept was novel. Instead of using an optical viewfinder and mirror, like the Four Thirds SLR system that preceded it, M43 takes the view from the image sensor and sends it right to an electronic display.

Olympus (now known as OM System) and Panasonic got things started, but several others have employed the mount over the years. Cameras in the Blackmagic Pocket Cinema line, drones from DJI and Yuneec, and even some smartphones(Opens in a new window) have all joined in on the platform.

Mirrorless technology has grown a lot in the time since. Today's models leapfrog SLRs in autofocus speed and video capabilities. Many, including those at the entry level, feature in-body image stabilization, too.

Currently, two manufacturers drive the platform forward. OM System carries the torch for the now-retired Olympus camera brand. Olympus is still around but is no longer in the camera business. You might still find products with Olympus logos on store shelves, but new releases all have OM System branding.

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Panasonic continues support under its Lumix imprint, even though it's added a full-frame camera system to its catalog. It uses the Lumix G designation for its Micro Four Thirds cameras, which include mainstream models and specialty options like the tiny BGH1 video camera.

Finding a lens for a Micro Four Thirds camera isn't hard—there have been hundreds of different types over the years. But there are some things to take into account.

First up is the focal length. The millimeter number of every lens is relative to its angle of view, and lenses with a smaller number capture a larger view.

Micro Four Thirds cameras use a different image sensor format than full-frame and APS-C cameras, so you need to do some math to match up focal lengths between the systems. Micro Four Thirds uses a 4:3 aspect ratio. Compared with the 3:2 aspect sensors of competing systems, these sensors don't translate as nicely to wide screens and are smaller in surface area.

As such, expect to see lenses with smaller focal lengths than you might expect. A 12mm focal length on a full-frame system is ultra-wide, for instance, but on an M43 camera it captures a wide standard view. That's about the same as the main lens on your smartphone or a 24mm lens on a full-frame camera. The rule of thumb is to double Micro Four Thirds focal lengths to directly compare them with full-frame.

You don't have to think too much about it when buying a native lens for the system. We've broken this guide up by type, so you can jump down and pick out the best macro, telephoto, wide, or other type of lens for your camera.

If you're planning on using manual lenses for old SLRs, it's very easy to do if you're willing to deal with manual focus and aperture control. With a simple mechanical adapter, you can put a manual lens onto a Micro Four Thirds camera. We're going to stick to lenses made for M43 in this guide, but we have a separate guide for photographers who want to use vintage glass with a new digital camera.

The first lens most photographers get with a camera is a standard zoom. Starter options emphasize size and value, and are typically available at a discount when you buy it along with a camera.

We recommend the Panasonic 12-32mm and Olympus 14-42mm EZ for photographers just starting out, but you might want to move to a more capable zoom as you learn to better use your camera, and if your budget allows it.

There are many reasons to upgrade your lens. The F3.5-5.6 entry-level zooms lose light when you zoom in and aren't as tough as premium options, many of which include weather sealing.

We like the Olympus 12-45mm F4 and 12-100mm F4 for enthusiasts. The former is a good option if you like to work with a smaller kit, while the latter is the zoom to get if you want more zoom power without changing lenses.

Pros are more likely to choose a lens with an F2.8 aperture. We've not tested the OM 12-40mm F2.8 II, but liked the old Olympus version of the lens. Panasonic has a good 12-35mm F2.8. They're better choices for working in dim light—at F2.8 a lens captures twice the light than at F4—and snapshots with a bit more background blur, too.

The Micro Four Thirds system also supports the fastest aperture zoom on sale today. The Panasonic 10-25mm F1.7 is more than twice as bright as an F2.8 lens and doesn't lose light when you increase the focal length. Its $1,800 price is on the high end for the system, but so is the lens.

Wide-angle lenses capture an epic, broad view of the world and are ideal for landscapes and architectural imaging.

For Micro Four Thirds, look for lenses that cover angles wider than 12mm. The Olympus Pro 8-25mm F4 zoom is one of our favorite options, and you can step up to the 7-14mm zoom if you want one with an F2.8 aperture. Panasonic also sells a premium wide lens with Leica-certified optics, the DG 8-18mm, for around $1,100.

If you want a wide lens that gathers more light, you need to look at fixed-focal length choices. Most wide primes for the system are manual focus. Samyang and Venus Laowa aren't household names but cover a space where Olympus and Panasonic don't play.

There are two wide-angle primes with autofocus for the system, but they are both fish-eye optics. The Olympus 8mm F1.8 and Panasonic 8mm F3.5 capture the entire world in front of the lens, but with a curved, distorted view, something you can use effectively as a creative tool.

The Micro Four Thirds system is especially appealing for photographers who use telephoto lenses. These types have longer focal lengths, so they capture a narrower angle. They're ideal for photographing skittish wildlife, and for getting great shots of team sports from the sidelines or stands.

These lenses come in both zoom and prime varieties. Primes typically have brighter apertures, and work with teleconverters to extend their reach—the Olympus 300mm F4 and Panasonic 200mm F2.8 are two fine examples. Both are firmly in enthusiast and pro territory, though, with prices in the $3,000 ballpark.

If you're just starting out, the Olympus 40-150mm F4-5.6 is very affordable, but its aperture means you need to stick to bright environments. The OM System M.Zuiko 40-150mm F4.0 is a good step-up option, and one of our favorites for the system.

An F2.8 zoom is a better choice if you frequently work indoors. If you want better shots in dim light or more control over depth of field, the Olympus 40-150mm F2.8 and Panasonic 35-100mm F2.8 is a better fit.

Wildlife specialists likely need something longer. The Olympus 40-150mm F2.8 supports 1.4x and 2.0x teleconverters, but you can get even longer zooms for the system.

The Panasonic G Vario 100-300mm II is a good starting point. It includes weather sealing and is long enough for backyard birders and tight shots of mallards at the park for just $650.

If you want more reach, look at the Panasonic G Vario 100-400mm ($1,800) or the Olympus M.Zuiko 100-400mm ($1,500), the latter of which works with teleconverters. Both are likely out of the price range of casual photographers.

Olympus has one more lens, just for the pros. The $7,500 M.Zuiko 150-400mm F4.5 has a constant aperture, rare for such a long lens, and includes a built-in 1.25x teleconverter. Engage it to get a focal range of 190-500mm at F5.6.

Prime lenses, those with a fixed angle of view, are typically a bit slimmer than zooms and gather more light. If you love snapping family photos in typical home lighting and getting a pleasingly blurry background in the process, think about a prime.

The Micro Four Thirds system includes primes that cover popular angles of view. Both Olympus and Panasonic offer relatively lightweight F1.8 and F1.7 lenses, many of which come in under $400.

If you want more control over depth of field, look at the Olympus Pro F1.2 series or the Panasonic Noctictron. They are certainly on the big side for the system, but also get closer to the extremely shallow depth of field look that full-frame systems create.

Voigtlander takes things even further with its Nokton F0.95 line, though you have to be comfortable with manual focus and aperture control. The lenses are worth a look if you love Micro Four Thirds cameras for their size, but don't mind pulling out the heavy glass for shots where only a razor-thin slice of the world is in focus. As with the Olympus F1.2 lenses, the Noktons are bigger than the F1.8 primes.

Some lenses can focus closer than others. If you want to hone in on minuscule subjects, look for a macro. These lenses can magnify subjects at life-size or better at their close-up focus distance, without giving up the ability to snap photos of distant subjects.

We recommend the Olympus 30mm F3.5 Macro for its low cost, better-than-life-size focus (1.25:1), and light build. The only drawback is that it requires you to get really close to your subject. If you want a bit more working distance, the Panasonic 45mm F2.8 and Olympus 60mm F2.8 are both worth a look.

Our favorite macro for Micro Four Thirds is a high-end option, the $1,500 OM System 90mm F3.5 Macro IS PRO. It's the only lens of its type that includes both 2:1 magnification and autofocus. It also supports teleconverters for a tighter frame and 4:1 magnification.

There are plenty of ways to add some creative flair to your camera system. Creative effects lenses, like those from Lensbaby and Lomography, are all manual, and many, like the Composer Pro II and Velvet family, are available for multiple systems.

The Lomography Experimental Lens Kit and Lensbay Sol 22 are made just for Micro Four Thirds cameras. We especially like the Sol 22—it's a good starter for photographers who want to play with the plane of focus.

We highlighted some of our favorites for creators below, but don't count out vintage lenses. With a mirrorless camera, you've got plenty of options when it comes to adapters.

A lens isn't the only accessory you can add to your camera to expand its functionality. Several different tools can take your photography, vlogging(Opens in a new window), and cinematography to the next level.

For photographers, we recommend getting an add-on flash for your camera. Many Micro Four Thirds models don't include a built-in flash. We like the Godox V1; its round head and rechargeable battery set it apart from most competitors.

You also have the option of adding a radio transmitter accessory for more lighting options. If you really prefer off-camera lighting, think about a more powerful strobe with battery power. The Flashpoint Xplor 300 is a good fit for light stands and tripods, while you can mount or handhold the smaller Xplor 100.

A good tripod is something every photographer should own. The in-body stabilization on cameras like the OM-1 is outstanding, but tripods are useful for high-resolution multi-shot modes, astrophotography, and video work. There are loads of good ones available, though our favorite model for mirrorless cameras is the Peak Design Travel Tripod.

We also like the Lensbaby Omni filter series. It puts modifiers in front of your lens for creative lighting effects. It's useful for video as well as stills. Vloggers buying a Micro Four Thirds system for 4K capabilities should also think about an external microphone, as clear audio is as important as UHD video. For video stabilization, the DJI RS 3 is our favorite gimbal for most mirrorless cameras, but Micro Four Thirds owners may find the slim RS 3 Mini to be a better match for vlogs.