These are the best Panasonic wide-angle lenses when you want dramatic perspectives, clean corners, and travel-ready builds that shine for landscapes, interiors, cityscapes, vlogs, and astro—across both Micro Four Thirds (Lumix G) and full-frame L-Mount (Lumix S). For MFT, the Leica DG Vario-Elmarit 8–18mm f/2.8–4 (16–36mm equiv.) is the filter-friendly ultra-wide workhorse—razor sharp, weather-sealed, and compatible with common screw-ins for long-exposure seascapes and gradients—while the Lumix G Vario 7–14mm f/4 (14–28mm equiv.) delivers bulbous-front drama with crisp edges for tight interiors and towering facades. If you prefer prime speed and character, the Leica DG Summilux 12mm f/1.4 (24mm equiv.) brings low-light bite, sunstars, and rich micro-contrast, and the Leica DG Summilux 15mm f/1.7 (30mm equiv.) stays featherweight for street and travel with snappy AF and pleasing roll-off; the Lumix G 9mm f/1.7 (18mm equiv.) is a tiny, close-focus gem for CFWA-style foregrounds and handheld astro. Hybrid shooters can treat the Leica DG Vario-Summilux 10–25mm f/1.7 (20–50mm equiv.) like a “prime set in a zoom”—near-parfocal behavior, minimal breathing, and long throw feel—perfect for YouTube studios, interviews, and night city B-roll. Budget and ultralight kits benefit from the Lumix G 14mm f/2.5 II (28mm equiv.) pancake for pocketable wides, and third-party heroes like the Laowa 7.5mm f/2 or 10mm f/2 for rectilinear astro and gimbal work. On full frame, the Lumix S PRO 16–35mm f/4 is the weather-sealed cornerstone—neutral color, controlled breathing, and edge-to-edge sharpness for architecture and travel—while the Lumix S 14–28mm f/4–5.6 Macro surprises with ultra-wide reach, close-focus “near-macro” at 28mm for detail cutaways, and a compact, filter-friendly front. The sleeper travel zoom, Lumix S 20–60mm f/3.5–5.6, starts at an unusually wide 20mm for cramped rooms, real estate, and car interiors, then stretches to environmental portraits in a single, lightweight lens. Prime lovers get a matched look with the Lumix S 18mm f/1.8 and 24mm f/1.8—identical size/weight/ring layout for painless gimbal swaps, fast linear AF, and suppressed breathing—great for handheld doc and night scenes; add the Laowa 9mm f/5.6 FF RL (filter-adapter friendly) or Sigma 14–24mm f/2.8 DG DN Art and 16–28mm f/2.8 DG DN for rectilinear extremes and bright interiors. Across the lineup, Panasonic strengths matter for video and stills alike: quiet linear motors keep audio clean, selectable linear MF response makes pulls repeatable, micro-stepped apertures avoid flicker in exposure ramps, Dual I.S. (on G) and Body I.S. + O.I.S. (on S) deliver glide-like handhelds at slow shutters, and Nano Surface/Arne coatings preserve contrast against sun and neon. Practical picks: choose 8–18/2.8–4 or 7–14/4 on MFT for serious ultra-wide work, 12mm/1.4 or 9mm/1.7 when speed and foreground drama matter, and 10–25/1.7 as your hybrid studio zoom; on L-Mount, run 16–35/4 for sealed pro coverage, 14–28 for ultra-wide plus close-focus versatility, 20–60 for one-lens travel that starts wide, and 18/1.8 or 24/1.8 for matched prime rigs—sprinkle in Laowa 9mm or Sigma 14–24/2.8 when rectilinear extremes or extra light decide the shot. Whether you’re stitching sunrise panos, threading atriums with straight verticals, filming gimbal walk-throughs, or shooting Milky Way over foreground rocks, the best Panasonic wide-angle lenses combine sharp, controlled optics with video-friendly mechanics and stabilization—so you can travel lighter, frame bolder, and bring home files that grade beautifully.