Exploring La Serena for the first time was a sensory revelation — sunlight slicing through coastal fog, the rhythmic hum of vendors in the city’s famous Sunday market, and the hypnotic beauty of the Japanese Garden tucked in the heart of town. As a traveling photographer, the thrill of discovery is always in tandem with the need to pack wisely. You want something light, yet powerful. Something capable of handling street scenes, landscapes, portraits, and low light. That’s what made the Panasonic Lumix S 24-60mm f/2.8 such an appealing choice to bring along. And after using it extensively here, it’s fair to say this lens might be one of the most overlooked gems in Panasonic’s L-mount lineup.

The Panasonic 24-70mm f/2.8 S lens already exists and is widely regarded as a high-performing pro zoom. But it’s big. At around 935g, it’s not something you want swinging from your neck after three hours of exploration. Panasonic seems to have heard the grumbles and responded with something different. This new 24-60mm f/2.8 S trims 10mm off the long end of the range, ditches some video-centric features, and emerges as a refreshingly nimble alternative. At 544g, this lens is nearly half the weight of its larger sibling, and that’s not a subtle difference — it’s transformative in practice.

The size and balance of the 24-60mm f/2.8 S on a Panasonic S5 or S5 II is nothing short of ideal. It turns what could be a cumbersome full-frame setup into something that handles like a Micro Four Thirds kit, but with all the benefits of a larger sensor. On day-long outings around La Serena — from early-morning fog in the city’s plazas to the golden hour in its upper hills — I never once felt fatigued from the gear. If you’re a travel shooter who likes to remain nimble but refuses to compromise on image quality, this lens was made with you in mind.

One of the things that makes this lens such an unexpected success is that Panasonic didn’t skimp where it matters. The build is solid, with a weather-sealed construction ready for field abuse. Chilean coastal weather can be moody — crisp sun at noon, damp mist an hour later — but this lens brushed off the elements. The zoom ring is smooth and dampened just right, and the plastic lens hood, while nothing luxurious, gets the job done. A customizable function button and a physical AF/MF switch add helpful usability touches. The manual focus ring, while a bit too light and “fly-by-wire” in feel, is passable for still shooters, even if videographers might crave more tactile feedback.

Autofocus is driven by a dual linear motor system that is both fast and near-silent. Tracking moving subjects in the bustling Sunday street market was easy — from sudden gestures of a vendor to dogs darting through crowds. Paired with the updated autofocus system in the Panasonic S5 II, focusing was consistently accurate and confidence-inspiring. Even in lower light situations like shaded alleyways or foggy sunrise shoots, the lens snapped to focus without hunting. There’s no image stabilization built into the lens, but Panasonic’s bodies offer excellent in-body stabilization, which compensated just fine, even when shooting handheld at 1/10 sec.

Optically, the 24-60mm f/2.8 S punches above its class. At f/2.8, it’s sharp in the center throughout the zoom range. Corners do soften slightly at the widest focal lengths, but improve noticeably by f/4. Color rendition is neutral to slightly warm, with excellent contrast and clarity. This became especially apparent when shooting portraits in La Serena’s backstreets. Skin tones looked natural, without requiring much post-processing. Flare control is impressive — shooting into strong Chilean sun yielded minimal ghosting, and contrast remained intact. Sun stars, while possible at narrower apertures, are a bit mushy and uninspiring — the trade-off for that pleasingly rounded aperture.

Bokeh quality is a highlight. The constant f/2.8 aperture allows for nice subject separation, and the background blur is smooth and creamy, especially at the long end. Panasonic opted for a rounded 9-blade diaphragm, and it shows. Whether isolating street musicians against urban texture or highlighting a cup of cortado against a blurred café background, the out-of-focus rendering is clean and tasteful — not overly busy or “nervous” like some travel zooms.

The 24-60mm range is, of course, slightly unconventional. You lose that extra 10mm reach from the typical 70mm zoom. But unless you’re regularly shooting tightly framed portraits or need the extra compression, it’s not a painful omission. In return, you get a noticeably smaller and lighter lens — one that’s more likely to be with you when it counts. Besides, 60mm still gives you decent portrait compression and is perfect for environmental portraits.

Close focusing capability is another welcome surprise. The lens isn’t marketed as a macro, but it does 0.33x magnification — not bad at all. At 60mm, you get a good working distance for details, textures, and small subjects. I found myself using it frequently to document artisanal goods and handmade crafts at La Serena’s market, as well as flowers and foliage in the Japanese Garden. It’s not true macro, but it opens up creative possibilities without switching lenses.

Video shooters might notice the absence of a focus clutch and power zoom. These omissions might feel limiting to hybrid creators, but the lens still performs admirably in video work, especially considering its silent autofocus and consistent aperture. Breathing is minimal, and manual focus — though not mechanically perfect — is usable with practice.

Of course, one of the most remarkable things about this lens is the price. Coming in at significantly less than the 24-70mm f/2.8 S, it offers a similar optical signature, a brighter constant aperture, and professional construction — all for a price tag that puts it within reach of enthusiasts and working creatives alike. It’s a rare example of a manufacturer not just reducing size and cost, but doing so without stripping away the core of what makes a lens pro-level.

Panasonic’s decision to label this as an “S” lens — the designation used for its professional L-mount lenses — isn’t just marketing. This lens earns it. It may not have the full feature set of its bigger brother, but it proves that pro-grade doesn’t always mean pro-weight or pro-price. And for documentary shooters, event photographers, or any creative working on location, that’s a very welcome message.

In a world increasingly dominated by ultra-fast primes and ultra-wide superzooms, the Panasonic 24-60mm f/2.8 S reminds us that simplicity and balance still matter. It’s not just a travel lens — it’s a capable everyday lens for anyone looking to pack light without giving up the tools to make powerful images.

If you’re heading to a city like La Serena — or anywhere that inspires the soul and stretches your creative instincts — this lens makes an excellent companion. It’s the kind of gear that disappears when you’re shooting but delivers when you get home and review your work. And in the end, isn’t that what we really want from our tools?