These are the best Panasonic lenses for landscape photography when you want edge-to-edge sharpness, filter-friendly fronts, and weather-sealed confidence in kits that hike light yet print big—across Micro Four Thirds (Lumix G) and full-frame L-Mount (Lumix S). On MFT, the Leica DG Vario-Elmarit 8–18mm f/2.8–4 (16–36mm equiv.) is the filter-ready ultra-wide cornerstone—razor detail, minimal distortion, and a 67mm thread that plays nicely with ND/grad sets for seascapes and long exposures—while the Lumix G Vario 7–14mm f/4 (14–28mm equiv.) brings bulbous-front drama and crisp corners for tight canyons and interior architecture. Prime lovers get speed and sunstars from the Leica DG Summilux 12mm f/1.4 (24mm equiv.), pocketable balance from the Leica DG Summilux 15mm f/1.7 (30mm equiv.), and foreground-friendly close focus plus handheld blue-hour chops from the tiny Lumix G 9mm f/1.7 (18mm equiv.); for a “prime set in one lens,” the Leica DG Vario-Summilux 10–25mm f/1.7 (20–50mm equiv.) offers constant speed, near-parfocal behavior, and long throws that make sunrise-to-twilight compositions painless without swaps. Ultralight adventurers can add third-party rectilinear wides like the Laowa 7.5mm f/2 or 10mm f/2 for coma control and gimbal-friendly balance. Mid-range coverage with close-focus versatility comes from the Lumix G X 12–35mm f/2.8 II/III (24–70mm equiv.)—sharp, sealed, stabilized with Dual I.S.—and the Leica DG 12–60mm f/2.8–4, whose extra reach frames peaks and city layers without changing glass. On full frame, the Lumix S PRO 16–35mm f/4 is the clean, neutral, weather-sealed workhorse for ridgelines and modern architecture; the compact Lumix S 14–28mm f/4–5.6 Macro starts truly wide and adds impressive close focus at 28mm for texture-driven foregrounds; and the sleeper Lumix S 20–60mm f/3.5–5.6 uniquely starts at 20mm, perfect for cramped overlooks and interiors while keeping weight low for long approaches. For one-lens travel and stitched panos, the Lumix S 24–105mm f/4 Macro O.I.S. brings 0.5× detail for lichen, rocks, and tree bark between vistas, while Sigma’s L-Mount wides—the 14–24mm f/2.8 DG DN Art and 16–28mm f/2.8 DG DN—offer bright apertures and rectilinear discipline for blue-hour cityscapes and night clouds. Prime shooters can build a matched rig with the Lumix S 18mm, 24mm, and 35mm f/1.8—identical size and ring layout for painless gimbal swaps and consistent color—plus the Laowa 9mm f/5.6 FF RL when you need extreme perspective and deepset sunstars. Across the lineup, Panasonic strengths matter outdoors: Nano Surface/Arne coatings hold contrast shooting into the sun, quiet linear motors keep AF confident in wind, selectable linear MF response makes hyperfocal pulls predictable, micro-stepped apertures avoid flicker in exposure ramps, and stabilization ecosystems—Dual I.S. on G, Body I.S. + O.I.S. on S—let you run slower shutters for silky water and handheld twilight without lugging a heavy tripod. Practical picks: choose 8–18/2.8–4 or 7–14/4 on MFT for serious ultra-wide work, add 10–25/1.7 if you want a fast, single-lens dawn-to-night solution, and carry 12–35/2.8 or 12–60/2.8–4 for mid-range versatility; on L-Mount, run 16–35/4 for sealed pro coverage, 14–28 for extra-wide plus close-focus foregrounds, 20–60 for ultralight one-lens travel, and 24–105/4 Macro O.I.S. when detail inserts and stabilization matter—sprinkle in Sigma 14–24/2.8 or 16–28/2.8 for brighter nights or Laowa 9mm for extreme lines. Whether you’re layering dunes at sunrise, threading cathedral atriums with straight verticals, or shooting handheld seascapes under fast-changing weather, the best Panasonic lenses for landscape photography combine sharp, controlled optics with filter-ready practicality and stabilization-friendly mechanics—so you can move faster, shoot longer, and bring home files that grade and print beautifully.