These are the best Panasonic lenses with image stabilization when you want rock-steady handhelds, smoother pans, and sharper low-light stills without a gimbal—whether you’re shooting Micro Four Thirds (Lumix G) with Dual I.S. or full-frame L-Mount (Lumix S) with Body I.S. + O.I.S. On MFT, the Power O.I.S./O.I.S. zoom staples are the Lumix G X 12–35mm f/2.8 II/III and 35–100mm f/2.8 II/III, a fast, two-zoom kit whose optical stabilization syncs with in-body IBIS (Dual I.S.) for glide-like video and tack-sharp event work; the Leica DG 12–60mm f/2.8–4 adds travel-friendly range, quick AF, and Leica color, while the Leica DG 50–200mm f/2.8–4 brings stabilized tele reach with a focus limiter for sports and wildlife. For maximum pull, the Leica DG 100–400mm f/4–6.3 II is the handheld super-tele champ—close-focus “near-macro,” teleconverter support, and O.I.S. that teams beautifully with Dual I.S.—and the compact Lumix G 45–175mm f/4–5.6 PZ offers internal zoom and O.I.S. for smooth servo-style moves in a tiny rig. All-in-one travelers can rely on the Lumix G 14–140mm f/3.5–5.6 II or the Lumix G 45–200mm f/4–5.6 II, both stabilized and weather-resistant for daylong walks. Macro shooters get steadier close-ups with the Leica DG Macro-Elmarit 45mm f/2.8 O.I.S., whose optical stabilization and quiet drive keep product and food video clean. On full frame, the Lumix S 24–105mm f/4 Macro O.I.S. is the stabilized mid-range workhorse—0.5× close focus for detail cutaways and optical IS that fuses with Body I.S. for tripod-light interviews and B-roll—backed by the Lumix S PRO 70–200mm f/2.8 O.I.S. (or f/4 O.I.S.) for sports, stage, and portrait compression with controlled breathing for video; the Lumix S 70–300mm f/4.5–5.6 Macro O.I.S. hits 0.5× at 300mm for tight textures and shy wildlife, while the Lumix S 100–400mm f/4.5–6.3 O.I.S. delivers long, stabilized reach in a travelable shell. Third-party L-Mount glass expands stabilized options: the Sigma 100–400mm f/5–6.3 DG DN OS is a lightweight tele with effective OS, and the Sigma 150–600mm f/5–6.3 DG DN OS Sports adds rugged build and strong stabilization for motorsports and distant birds. Across these lenses, Panasonic’s strengths amplify stabilization gains: quiet linear motors keep audio clean, selectable linear MF response makes pulls repeatable, and micro-stepped apertures avoid flicker during exposure ramps; with Dual I.S. (G series) or Body I.S. + O.I.S. (S series), you can shoot slower shutters for purer color, steadier horizons, and smoother walk-and-talks. Practical picks: build a stabilized MFT kit with 12–35/2.8 + 35–100/2.8 for events, add 12–60/2.8–4 for travel and 100–400 II for wildlife; go compact with 45–175 PZ for video-friendly internal zoom or 14–140 II for one-lens days; for macro, grab the 45/2.8 O.I.S. On L-Mount, run 24–105/4 Macro O.I.S. as your do-everything stabilized mid-range, pair it with 70–200/2.8 or /4 O.I.S. for action, add 70–300 Macro O.I.S. for hikes and 100–400 O.I.S. (or Sigma 150–600 OS) when distance decides the shot. Whether you’re filming handheld documentaries, locking in static frames at dusk, or tracking telephoto subjects, the best Panasonic lenses with image stabilization combine optical IS tuned for Panasonic bodies with video-ready mechanics—so your footage looks smoother and your stills stay sharp, even when the tripod stays home.