Which lenses you should buy for your Fujifilm camera is a personal decision. There’s not a single lens that’s for everyone. One person will like one lens, another person will like a different lens. Some people prefer zooms, some people prefer primes. Some prioritize sharpness, some prioritize character. There’s no right or wrong lens, only what you personally appreciate.
I get asked fairly regularly which lenses I recommend. I’m not certain how helpful it is to know which ones I personally like, because we’re all different, and which lenses I like best could be very different from what you’ll like best. With that aside, below you’ll find my five favorite Fujinon lenses for X-series cameras. In addition to those, I also sometime use vintage and third-party lenses, but for the sake of simplicity, I kept this list strictly to Fujinon glass.
The order is widest to most telephoto. I’ll provide some brief commentary about why I like the lens, and when I use it. I will also give them a rank of one-through-five; I really like all of them, so don’t read too much into where I rank them. Let’s dive right in!
Fujinon 23mm f/2.8 R WR
Fujifilm’s latest prime lens offering is the Fujinon 23mm f/2.8 pancake. Paired with the Fujifilm X-E5, it’s the closest you’re likely to get to an interchangeable-lens X100VI. This lens is an excellent performer, and has some good close-focus capabilities (not macro, but cropping a little will get you near-macro). An advantage that APS-C has over full-frame is size and weight, so you’d think that Fujifilm would offer a series of pancake lenses to pair with their smaller cameras; however, for many years your options have been the hard-to-find 27mm f/2.8 and the 18mm f/2, which is barely a pancake and, as one of the older lenses in the lineup, in need of a refresh. So I think it was smart for Fujifilm to release a third option, and I hope that another pancake lens or two are in the works.
While I really like the Fujinon 23mm f/2.8 pancake, I don’t love it quite as much as the 27mm f/2.8 pancake. Clinically speaking, it’s probably the better of the two, but it lacks a little of the soul that makes the 27mm special. I tend to only use it when the 27mm focal length is a bit too tight, or I want to focus a little closer. It’s completely worth owning, but you’re likely to choose either the 23mm or 27mm, and not both, since their focal lengths are fairly similar. I rank the 23mm f/2.8 pancake as my fifth favorite Fujinon lens.
Fujinon 27mm f/2.8 R WR
When I preordered the Fujifilm X-E4, I did so as a kit with the (new version) Fujinon 27mm f/2.8 pancake lens. I was hesitant to do so because the maximum aperture of “only” f/2.8 wasn’t impressive, and I was unsure if it was going to be sharp enough. At the time, the Fujinon 35mm f/2 was my favorite lens, and it has a similar focal-length, a larger maximum aperture, and, while not a pancake, is pretty small overall. After getting the 27mm f/2.8, I fell in love with the character and compact size, and it immediately became my favorite lens.
This is my most used lens over the last several years. Even after getting the 23mm f/2.8 pancake, I still use the 27mm more than any other; however, I do use it a little less than I used to. If I could only own one Fujifilm lens, it would probably be this one. I rank the 27mm f/2.8 pancake as my second favorite Fujinon lens.
Fujinon 35mm f/2 R WR
I purchased the Fujinon 35mm f/2 lens in 2019, as a kit with the X-T30. It immediately became my most-used Fujifilm lens; however, after getting the 27mm pancake, it got relegated to secondary duty. I would only use it in place of the pancake when I needed an extra stop of light. It was barely used for a few years. Then, last year I purchased a full-spectrum infrared Fujifilm X-T4, and the 35mm f/2 lens gained new life. Since it doesn’t have any IR hotspots, it’s a great option for infrared photography. It has practically remained glued to the IR camera, which has been one of my favorites to use.
The Fujinon 35mm f/2 lens is a solid option that exemplifies everything that Fujifilm glass is renown for. It’s a great lens, and I use it often—mostly just for infrared photography nowadays. I rank the 35mm f/2 as my fourth favorite Fujinon lens.
Fujinon 56mm f/1.2 R WR
The Fujinon 56mm f/1.2 (new version) lens is extra special. It’s mostly regarded as a portrait lens, but it is good for so much more than that. The extra large maximum aperture makes the lens super useful for low light situations, and the shallow depth-of-field and extra sharp glass gives a medium-format feel to the photographs. The 84mm full-frame equivalent focal-length is a slightly awkward for some subjects and situations, and it can take some time to get used to, but well worth the effort to get comfortable with.
My only gripe with this lens is that it’s not mine. It belongs to my wife, Amanda, but thankfully she lets me borrow it whenever she’s not using it. I don’t have access to it all of the time, but I like to use it whenever the opportunity arises. Because it’s significantly larger and heavier than the previous three lenses, I prefer to use it on my X-T5, but I’ve used it plenty of times on a X-E4 and X-E5, too. I rank the 56mm f/1.2 as my number one favorite Fujinon lens.
Fujinon 90mm f/2 R LM WR
I purchased the Fujinon 90mm f/2 lens second-hand in 2018 for a specific project. Once that project was finished, I had intended to sell it and (hopefully) get most of my money back. But I ended up loving it so much that I kept it. It’s another portrait lens, this one longer at 135mm full-frame equivalent focal-length. Back in the day 135mm was fairly common, but it’s definitely gone out of style over the last 30 or so years. Still, I really love it.
When I want a longer reach and the 56mm f/1.2 isn’t long enough or isn’t available (because my wife is using it), I will use the 90mm f/2. It’s great for landscape photography, especially when the subject is at a distance. Seven years of solid service isn’t bad for second-hand glass; that was money well spent. I rank the 90mm f/2 as my third favorite Fujinon lens.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujinon 23mm f/2.8 in black:
Amazon, B&H
Fujinon 23mm f/2.8 in silver:
Amazon, B&H
Fujinon 27mm f/2.8:
Amazon, B&H, Moment
Fujinon 35mm f/2 in black:
Amazon, B&H, Moment, Nuzira
Fujinon 35mm f/2 in silver:
Amazon, B&H, Moment, Nuzira
Fujinon 56mm f/1.2 R WR:
Amazon, B&H, Nuzira
Fujinon 90mm f/2:
Amazon, B&H, Moment
For those amongst us for whom slow photography is the thing, it would be churlish not to pay tribute to the discontinued Fujinon Professional, medium and large format lenses.
Earlier single coated glass, the legend is inscribed inside the filter ring. Later, EBC coated glass, bears said inscription outside the filter ring.
I have even picked up a couple, new (boxed) old stock.
Most are in COMPUR 0 shutters. Light and compact for field use.
Only my “T” 600mm goes up a size to COMPUR 1. Fuji were masters in this respect.
I generally mount my “T” series, mild telephoto, 300, 400 and 600mm to doubled, back to back Novoflex BAL-PRO bellows. A Photodiox rear mount gives some tilt and shift.
My two prized “A”series, 180 and 240mm (a rare gem) do the full cobra in my 5 x 4 field camera.
Again, the Graflok fitting for the body, gives a degree of shift.
Probably intended to support stitching. For me, the shifting is more important.
Naturally, I only use the shutters for film, roll or cut.
Digitally, only the iris has to work. F:11 to F:16 optimum although they mostly go F:64!
So, use a REALLY good tripod, probably with a 75mm half ball head, only three section legs and no column. A “Tommy”!
Remote tethering to choice.
MF using the magnification facility at of course, WO.
Shut down. Take your shot after the mice have stopped farting.
Planning, and preparation.
Finally, just execute. The 7 Ps.
Clients always want to go big.
My T5 in this set up is usually still limited by the environment, vibration, rather than either the sensor or the glass.
Question, are you a rifle shot or a pistol shooter? You know what I am.
Rgds.
Malcolm Hayward.
For the purpose of the article, it was limited to Fujinon X-series lenses. I also didn’t mention GFX, third party, vintage, and things like that. There’s definitely some classic lenses that are quite excellent.
Quite fair.
Nevertheless, important to remind people, especially in the US, of Fiji’s status as an essential bastion of recent high end professional World photography.
US never had an authorised distribution system. All very ad hoc and a great shame.
How many know Fuji strides the television lens arena like a Colossus?
Most think of Fuji as a quirky social alternative to an I-Phone.
Embarrassing. The “Half” might sell and could conceivably be ‘fun’ whatever that might be.
Hardly helps corporate gravitas. I would recommend a Brand split.
Not only myself but senior academics in both Dublin and Edinburgh have the same grave privacy concerns as I.
See last post.
Yes, guys I was at school with. Fellow ancients, still photographing obscure plant material.
Not your usual pleasant and interesting froth I know but a right to privacy is something that is actually important.
Best Rgds.
Malcolm.
The 27 2.8 cannot be recommended enough. Compact, sharp, slightly nervous bokeh that goes well with street photos, great field of view. It X100-fies the X-T5 so I have it on a lot of the time. But my top three are the “trimurti”: 18 1.4, 33 1.4, 56 1.2 WR. The 56 as you say is the master of Bokeh, and I always loved the 85-equivalent field of view. The 33 is basically flawless. But the one I’possibly most impressed by is the 18. I had heard, before getting it, that it was one of the very best Fuji primes. I had no idea how true it was. I think that anybody who has a chance should try it. The only issue is that then you want to buy it and the thing is not cheap 🙂
I like the 27mm, but I recently bought the 23mm 2.8 R WR. I love it on my X-E5. I’m mostly a Zoom guy, and the lens I use a lot is the 16-55 2.8ll on the X-T5. The 18 1.4 is great also. I have several Fuji lenses and a couple of Viltrox lenses. Too many Fuji cameras too!😅
My dad, Royal Photographer, Press, Fleet St. hated both Leica / 35mm and bokeh.
Obstructions to photography.
He taught me to coat plates.
I generally intensely dislike bokeh.
My wife is affected in much the same way as with flashing lights.
Nausea and unsteadiness.
Bokeh if you must but please keep it for consenting adults in private.
Rgds.
Malcolm Hayward.
I’ve never tried the 18mm f/1.4, sounds like I should attempt to get one this year. Thanks for the input!
Either you are in the game of gear lovers, then the list would be more about the superfast and hypersharp f1.4 lenses, or you are an enthusiast of taking meaningful and emotional pictures – then the lens becomes somehow less important. 😉
Impossible to be too sharp. Sharp at F:1.4, why. Facilitates focussing but I would never use more than F:2 or more probably F:2.8. A wedding pic requires the heads, the dress and the carefully chosen13thC venue to be as sharp as. So, F:8 to F:11 is where it really matters. Why the Rolleiflex TLR was perfect.
If your lens is super neutral and super sharp up to diffraction levels, F:11 / F:16 you can be moody or whatever if you must, via Lightroom. Absolutely not my bag.
Anything you haven’t got you can’t put back when, as you eventually will, you need it.
Why pay for or carry massive glass with capabilities you will never actually use?
A top tripod is far more important.
I carry my super sharp and contrasty Voigtlander pair, F2 mount, 28mm F:28 and 40mm F:2 pancake.
Fringer adapter to match the body, Zfc, Z7ii or T5.
MF with silky smooth focussing, the aperture controlled by the body. As with a Zeiss.
In body IS, generally off.
Compact, especially the 40mm pancake, full coverage and very nearly as sharp as the best Fujinon.
Love the neutral, clinical, colour balance. Think Agfa. If I had to carry just one, the 40mm.
Don’t think they drop off at the corners, I always shoot 1:1. LOL.
In the other lengths, I generally shoot Canon on both the Nikon and Fuji.
Excellent, affordable and above all, hireable.
Rgds.
Malcolm Hayward.
I think the lens is very important, but not in the way that most people think, and often in ways that are difficult to describe or quantify. It’s more about the feel it creates than anything that can be measured.
Do you mean in the way Rockwell describes the Voigtlander 40mm pancake?
A very tactile experience, with which I fully concur.
You can always make of the image what you will.
A // here to guitarists and their amps and speaker cabs.
Every guitarist has their own tone, affected significantly by their conscious choice of every component in the sound chain. Not a result of physical characteristics as with Tenor sax players or orchestral French horn players where tonal choice, maybe even that of instrument is imposed upon them.
We are in the middle of an amp / cab switch.
The future is amps and cabs closer to ffr but still catering for the vagaries of rooms or stages.
Just loud and uncoloured.
Preferably, very loud and uncoloured with light maybe, as a bonus. Players can now use modelling boxes to simulate their amp of prejudice.
Who knows that big stack of Marshalls may in the future, just be stage props, empty and LIGHT.
Best Rgds.
Malcolm.
I suppose like the guitarist choosing the guitar, strings, amps and pedals that produce the desired sound… may not be the “best” options “on paper” but it produces the desired effect.
I know we all like a bit of gear discussion but some comments here seem to stray from the forum’s path. The original post is about Fujinon lenses and the website is after all called Fuji X Weekly so why all the strong opinions about, for instance, the preference for tripod-mounted equipment and the slow approach? The idea of the Leica and, I’d guess, some of the best-selling Fujifilm cameras that after all resemble Leicas in appearance is to enable on the go, portable and inconspicuous photography where you can react quickly, enjoy the spontaneity, and freeze a moment in time without being too obtrusive. I do agree that bokeh has become an over-emphasized aspect of photography in recent times but when things are stated to be all bad to the point of inducing illness it’s hard to be convinced! There are many genres and styles of photography and anyway do creative pastimes have to compete with each other for validity?
I apologise for deviating still more although we have been drawn here.
Firstly, people on the Epileptic edge have problems with flashing images as I am sure you all know.
Add the benefits of Covid and that extends to things that just don’t look right as with an incomplete bokeh.
Moving on.
Much of Europe has privacy issues with casual / street photography. The French seem to be getting a grip. UK has it round it’s neck. If you have one foot, an issue, on public access land, next issue, you are free to let rip, maybe.
Caveats:-
No minors without a proper model release. Tricky with junior team games.
Anything that the subjects don’t want witnessed, think “after a night out with the girls.”
Over close to 75years carrying a camera, I have definitely done a Volte Face.
My current position, for anyone potentially identifiable:-
Model release form or the snapper must be clearly dressed / identifiable as an authorised snapper.
Probably licensed.
Press and various authorities will already be so dressed.
Now, where we need assistance from Fuji et al. It should not be possible to remove EXIF type data.
The digital image needs to be permeated with the when, where and with what. Ideally, also add contact info for who owns the what.
Chew this amongst yourselves. No more on these subjects from me.
Very best rgds.
Malcolm Hayward.
There are so many different paths in photography, all of which are legitimate and oftentimes deeply personal. Anytime that anyone says one way is better or the “right” or “real” way to do photography, they should be taken with a massive grain of salt, or ignored altogether. The only “real” or “right” way to do photography is whatever it is that works for the photographer, and achieves the end results that the photographer desires. I appreciate your comment!
The right way pays the bills.
Rgds.
Malcolm.
This is true for the working photographer. But… I know this guy who is incredibly talented and even quite influential who purposefully doesn’t earn any money from his photography. If he does earn something, he immediately donates it to charity. He just published his first book, which he gave away for free. The point being, a lot of photographers don’t do it for the money, but for the art; for those folks, there is a freedom that the working photographer is perhaps bound by, at least a little.
I think 27mm is an overrated lens. It’s not bad but It coming short in so many ways(pun inteded), feels a little overpriced. For comparison, my old canon 22mm F2 was brighter and af was noticeably silent with more affordable price. They both lack the character.
My favorite fujinon is 35 f1.4. I hope fujifilm makes a new version with silent af without changing the optical design. It would be the first thing ever I preordered.
Keep your best Canon and Nikkor fit glass. Use the wonderful Fringer smart adapters.
Welcome to the World of Frankincameras. They are now good. They just work.
No in camera linear corrections but if you bought well that shouldn’t be needed.
Didn’t buy well, there is always Lightroom.
Rgds.
Malcolm Hayward.
A lot of people really like the 35mm f/1.4. I tried it once, and I liked it, but I think I’d need to use it a lot more to form any real opinions. It was a “I’ll let you use my lens if you let me use yours” type of thing at a Fujifilm event. I actually wasn’t sure if I was going to get my lens back… 🤣
I can’t believe you slept on that lens. You need to give it a proper chance if you like the focal length. It’s not a perfect lens by any means, quite opposite actually. But there is something about that lens. It’s the poetic harmony of imperfections especially at wide open.
Yeah, I should totally give it a try. Thanks!
Updating the OG trio of the 35/1.4, 18/2, and 60/2.4 to modern focus motors and getting WR into the housing, with no changes to optical formulas, would be fantastic.
That 60/2.4 is a nifty lens, too. Sure, only a 0.5x macro (so were a lot of beloved film macro lenses!), but it’s basically Fuji’s version of a 90/4 Macro from Leica–a compact short portrait lens with good rendering that just happens to focus really close. Give it modern motors and a physical focus limiter switch, and it’d feel a lot zippier. It’s already a lot better on newer bodies than older ones, but that refresh would be nice.
//
For 27s… I’m quite happy with my TTartisan. Dirt cheap, and it’s got a lot of vintage character and swirl, while being reasonably wide (compared to adapting vintage lenses), and with modern convenience. Not necessarily everyone’s favorite flavor, but I like it a lot.
//
That Canon 22mm f/2 seems like it was one of the best reasons to own an EF-M camera. I thought long and hard about getting into the system a few years ago, but eventually decided against it. The small bodies don’t have EVFs, and it already felt like a dead-end system even then.
I definitely think those three are in need of a v2. I used to own the 60mm f/2.4 and used it often (and for some of my all-time favorite pictures). It was a little soft on the 24/26mp sensors—not bad, though… just not quite as crisp as some other lenses. I’m not sure how much I would recommend it for the 40mp sensor (I haven’t tried it, this is just speculation); I think it was most ideal for the 16mp sensors.
The TTArtisan 27mm lens is interesting. I have two copies, and each is quite different from the other. They both have flaws, but very different flaws. The first has a noisy motor but better IQ; the second is much quieter, but much stronger vignetting and corner softness that isn’t quit centered. It’s kind of like rolling dice, you don’t know what exactly you’re going to get. I hope for better quality control in the future.
Thanks for the input!
For my Nikon system, I have several lenses 35, 105macro, 300mm zoom. But with my X-T30ii I decided to have one always on lens and the TTARTISAN 27mm f.2.8 was my choice, and i go for it just because of the price.
There’s something to be said for a one-camera one-lens philosophy. Early in my photography, for years I had a Canon AE-1 with a 50mm f/1.8 lens and that’s it. I appreciate the comment.
In principal take a Rolleiflex TLR with the finest 75mm. or 80. Lens. 100mp back. You’re done. For snoopers a near silent shutter!
Would be happy with that.
Poor man’s ‘Blad.
Rgds.
If F1 Nikkors / F1 fit, use them all on your X-T via a matching Fringer. Canon EOS to X-T as well. Professional quality for only the cost of a nasty lens.
I have a quiver of the finest EOS lenses and interchange between Z and X-T. No Z Nikkors but again, selected legacy F1. Nasty FTZ on the Zs, Fringer to X-T5.
Fringer cover few adaptions but cover those they do exceedingly well.
My nikon in D7100, the Nikor 35m was the king for years. The size, weight, the looks and form-factor drove me the X-T30ii (i am happy withit). Thanks for your reply.
My Fuji lenses of choice are:
– 27/2.8 that is attached almost all the time, sometimes I do not take anything else with me.
– 16/2.8 – noone mentioned this small, not pancake of course, though very charming on small bodies. I fell in love with it’s angle of view. It’s often exactly what I need to frame. This lens deserves more attention.
– 60/2.4, yes it would deserve update as already mentioned.
Those three above I refer as my basic set.
Then there is zoom 18-55/2.8-4 that replaces the three when I am lazy or know I will have no time to swap. I owned also 16-80/4, loved the zoom range, constant aperture with markings on the dial but…. could not stand it’s size and weight. Consider my camera is ye olde X-E3. However, 18mm isn’t wide enough and for that reason this zoom is often coupled with 14/2.8. Yes it contradicts lazines od no-bulky clausules, but who cares… Anyway, I found it relieving for myself when I got back from zooms to primes. Some of you surely know that feeling, I believe 🙂
And here comes a classic 35/2 – this one used to be my basic lens before I bought 27mm but has it’s place in a bag. For example on older full-spectrum converted X-T10 (anyone interrested in IR recipe ?) Also sometimes it still kicks 27mm out of the mount.
For example I stopped using 23/2… A great lens that isn’t my focal length of choice.
What I miss is decent AF lens 135/4. Or something between 105 and 150mm Knowing that f/4 isn’t impressive at first sight but it could be crafted small enough and really lightweight. I wish someone creates this glass…
I was interested in the 16mm f/2.8 when it came out six or so years ago (I think around the same time as the X-T30), but couldn’t afford it at that time. I kind of last track of its existence for the most part. It might be a good option for an upcoming project of mine, I appreciate the reminder!
Feel free to share the IR Recipe if you’d like. The audience for that is small, but I know for certain there are some on here who would appreciate it.
I’ve been advocating for a 135mm lens for years, something with a maximum aperture in the f/2.8 to f/4 range. That’s a great suggestion!