These are the best fisheye lenses for fashion photography when you want bold, immersive perspective for runway catwalks, backstage energy, studio CFWA (close-focus wide-angle) beauty, and editorial street drama—with strong flare control under strobes/LED walls, close minimum focus for exaggerated accessories, and compact builds that survive fast sets—and here’s what to look for as you buy: favor diagonal fisheyes on full-frame for edge-to-edge frames you can partially de-fish while keeping limbs natural, circular options for graphic hero plates, fast or near-hyperfocal focus you can tape in the dark, coatings that resist veiling on glossy fabrics, and lightweight barrels that balance on gimbals or handheld rigs; most fisheyes can’t take front filters, so keep the front element immaculate, use flags/hands to kill flare, and do cross-polarization by putting linear gels on lights (not a screw-on CPL that vignettes). Full-frame heroes: Canon EF 8–15mm ƒ4L Fisheye USM and Nikon AF-S 8–15mm ƒ3.5–4.5E (benchmark circular→diagonal zooms—set a custom stop near 14–15 mm for diagonal coverage you can de-fish consistently; excellent coatings for sequins and speculars), Samyang/Rokinon 12mm ƒ2.8 diagonal fisheye (fast, light, budget-friendly—great for dim backstage, club presentations, and moody lookbooks), and Sigma 15mm ƒ2.8 EX diagonal (compact classic with tidy corners stopped a touch). APS-C standouts for tiny backstage corridors and light rigs: Tokina AT-X 10–17mm ƒ3.5–4.5 DX and Pentax DA 10–17mm ƒ3.5–4.5 (close-focus champs—killer for shoes/bags inches from lens and full venue sweep); Canon/Nikon 8–15s also act as diagonal fisheyes across most of their range on crop if you already own one. Micro Four Thirds winners for gimbal walk-ins and handheld video: Olympus M.Zuiko 8mm ƒ1.8 PRO (fast, sealed, superb into-the-spotlight behavior) and Panasonic Lumix G 8mm ƒ3.5 (tiny, sharp, cost-effective). Practical buyer tips: for maximum flexibility on FF, grab an 8–15 and save two zoom stops—(a) circular for graphic hero frames and (b) diagonal “no-vignette” for runway/backstage; if speed/price matter, the Samyang 12/2.8 delivers, and on crop the Tokina 10–17 is size-to-coverage gold; pick rigid EF→RF/E/Z adapters with zero play, practice a repeatable partial de-fish preset so lines match across the story, and consider a slim sacrificial protector only when debris/spray is likely (remove if it ghosts). Fashion-shooting tips: expose for skin and let neon/LED walls clip gracefully, keep shutters ~1/250–1/500 s for motion (1/1000 s for jumps/twirls), work around ƒ2.8–ƒ5.6 depending on lens/light and let ISO float rather than blur; center horizons for neutral geometry or tilt deliberately for “runway rush,” get inches from shoes/bags/jewelry for scale (mind safety and consent), and place backgrounds 2–5 m behind for airy fields; in studio, use flags/grids to control flare on glossy fabrics and run gentle diffusion (⅛) on lights rather than filters on the lens; backstage, shoot wide establishing frames early, then detail CFWA of hands/makeup and lineups; for lookbooks, mix a few partial de-fish frames with straight rectilinear shots for pacing; for video, lock a 180° shutter (internal ND or camera base ISO), set a fixed zoom stop before the take, move slowly—tiny wobbles read big on fisheye—and shade the front element under hard sources; whether you’re capturing cathedral-like catwalk symmetry, intimate backstage rituals, dramatic street-style entrances, or stylized studio sets, the best fashion fisheye choices—8–15 zooms on full-frame, Tokina/Pentax 10–17 on APS-C, and Olympus/Panasonic 8 mm on MFT—deliver close-focus drama, manageable flare, and post-friendly projection so sequins sparkle, silhouettes stay intentional, and your images feel graphic, kinetic, and unmistakably fashion-forward.