These are the best fisheye lenses for architectural photography when you want dramatic 180° perspectives, tight interior coverage from inches away, clean color, and disciplined flare for atriums, lobbies, cathedrals, galleries, and ultra-tight real-estate—plus de-fishing latitude for straighter lines—and here’s what to look for as you buy: prioritize diagonal fisheyes on full-frame (easier partial de-fish, more usable corners), consistent projection behavior (equisolid or stereographic for predictable stretching), strong coatings around skylights/point sources, close-focus for CFWA-style emphasis, and light barrels that play well on handheld rigs; plan on a de-fish workflow (Lensfun, DxO, PTGui, Fisheye-Hemi) and bracketed HDR—fisheyes see lots of windows; skip CPLs (uneven skies) and favor slim hoods/hand flags to tame veiling flare. Full-frame heroes: Canon EF 8–15mm ƒ4L Fisheye USM and Nikon AF-S 8–15mm ƒ3.5–4.5E (benchmark circular→diagonal zooms—use 14–15 mm for full-frame diagonal coverage you can partially de-fish; excellent flare control, quick AF; adapt EF to RF/E/Z easily), Samyang/Rokinon 12mm ƒ2.8 diagonal fisheye (prime simplicity, good low light, budget-friendly), and the Laowa 12mm ƒ2.8 Zero-D Fisheye (where available/region-specific) for a distinct projection you can tame in post; specialty circular options (Laowa 4mm/Canon 8 mm) are best reserved for artful domes/planet frames, then de-fished heavily. APS-C standouts: Tokina AT-X 10–17mm ƒ3.5–4.5 DX and Pentax DA 10–17mm ƒ3.5–4.5—compact, close-focus, beloved by interior shooters for dynamic ceilings and tight staircases (on crop the Canon/Nikon 8–15s behave as diagonal fisheyes across most of the range, handy if you already own one). Micro Four Thirds: Olympus M.Zuiko 8mm ƒ1.8 PRO (fast, weather-sealed, excellent into-the-sun behavior for glass roofs) and Panasonic Lumix G 8mm ƒ3.5 (tiny, sharp, cost-effective); both pair nicely with small gimbals for sweeping hall shots. Practical buyer tips: if you want one-lens flexibility on FF for both creative circular and usable diagonal frames, grab an 8–15 and set a custom zoom stop at the “no-vignette” diagonal setting you prefer; if you mostly shoot interiors on crop or need minimal weight, the Tokina/Pentax 10–17 delivers the best value/close-focus; MFT shooters who work blue hour and dim museums will love the Olympus 8/1.8; choose rigid adapters (EF→RF/E/Z) with zero play and map your de-fish presets per focal length so lines stay predictable; bring a lightweight nodal rail if you’ll stitch panos. Fisheye architecture shooting tips: center horizons/verticals before de-fish to keep geometry sane, work around ƒ5.6–ƒ8 (ƒ9–ƒ11 on high-res sensors) for corner discipline, shoot perpendicular to window walls and bracket (−2/0/+2 or more) for clean highlights, shade the front element to avoid veiling across skylights, and keep the lens level then “compose with feet” to reduce keystone before de-fishing; for stairwells/ceilings get inches from foreground handrails/moulding for scale, for lobbies/atriums aim for symmetrical centerline frames at 12–15 mm and de-fish just enough to relax curvature while preserving drama; for video, lock a 180° shutter with internal/rear ND, move slowly (tiny wobbles read big at 180°), set a repeatable zoom stop, and defish consistently in post; whether you’re celebrating vaulted naves, squeezing micro-apartments, crafting hero lobby reveals, or building bold ceiling mosaics, the best architectural fisheye choices—8–15 zooms on full-frame, Tokina/Pentax 10–17 on APS-C, and Oly/Pana 8 mm on MFT—deliver adjustable 180° drama, manageable flare, and post-friendly projection so your lines land intentional, your corners stay usable, and your spaces feel vast yet meticulously composed.