Fujifilm XF 8-16mm F2.8 R LM WR

❤️8.0K
Picture of the Fujifilm XF 8-16mm F2.8 R LM WR lens

Type

  • Wide-Angle

  • Fisheye

Focal Length

8-16mm

Lens Mount

  • Fujifilm X

Features

  • Weather-Sealing
  • 🔇Silent Focus
  • 🌙Low Light

Nikon AF-S Nikkor Fisheye 8-15mm F3.5-4.5E ED

❤️6.6K
Picture of the Nikon AF-S Nikkor Fisheye 8-15mm F3.5-4.5E ED lens

Type

  • Fisheye

Focal Length

8-15mm

Lens Mount

  • Nikon F

Features

  • Weather-Sealing
  • 🔇Silent Focus
  • 🌟Bokeh
  • 🤳Image Stabilization
  • 🌙Low Light

Fujifilm XF 8mm F3.5 R WR

❤️6.5K
Picture of the Fujifilm XF 8mm F3.5 R WR lens

Type

  • Wide-Angle

  • Fisheye

Focal Length

8mm

Lens Mount

  • Fujifilm X

Features

  • Weather-Sealing
  • 🔇Silent Focus

Irix 11mm F4

❤️6.1K
Picture of the Irix 11mm F4 lens

Type

  • Wide-Angle

  • Fisheye

Focal Length

11mm

Lens Mount

  • Canon EF

  • Nikon F

  • Pentax K

Features

  • Weather-Sealing
  • 🌟Bokeh

Venus Laowa 4mm F2.8 Fisheye MFT

❤️6.0K
Picture of the Venus Laowa 4mm F2.8 Fisheye MFT lens

Type

  • Fisheye

Focal Length

4mm

Lens Mount

  • Canon EF-M

  • Fujifilm X

  • Leica L

  • MFT

  • Nikon Z

  • Sony E

Features

  • 🌟Bokeh
  • 🌙Low Light

Canon RF-S 3.9mm F3.5 STM Dual Fisheye

❤️5.9K
Picture of the Canon RF-S 3.9mm F3.5 STM Dual Fisheye lens

Type

  • Fisheye

Focal Length

3.9mm

Lens Mount

  • Canon RF

Features

  • 🔇Silent Focus
  • 🌙Low Light

Kamlan 8mm F3.0 Fisheye

❤️5.7K
Picture of the Kamlan 8mm F3.0 Fisheye lens

Type

  • Fisheye

Focal Length

8mm

Lens Mount

  • Canon EF-M

  • Fujifilm X

  • Sony E

Features

  • 🌟Bokeh

Best Fisheye Lenses for Video in 2025

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These are the best fisheye lenses for video when you want immersive 180° drama, stable edge behavior, clean highlights under LEDs/sun, and compact barrels that balance on gimbals and handheld rigs—and here’s what to look for as you buy: favor diagonal fisheyes for most work (easier partial de-fish while keeping people/lines believable), circular fisheyes for stylized openers/VR plates, smooth manual focus with long-ish throws (or AF you can override quietly), minimal aperture “clicks” or electronic iris for flicker-free ramps, strong coatings against point lights, and light weights so rebalance is quick; front filters are rarely usable—plan internal/behind-lens ND, keep glass immaculate, and build a repeatable de-fish preset so shots intercut cleanly. Full-frame go-tos: Canon EF 8–15mm ƒ4L Fisheye USM and Nikon AF-S 8–15mm ƒ3.5–4.5E (benchmark circular→diagonal zooms—set a fixed stop near 14–15 mm for consistent framing; excellent flare control, quick focus; adapt EF cleanly to RF/E/Z), Samyang/Rokinon 12mm ƒ2.8 diagonal (fast, featherweight, budget king for dim venues and moody interiors), and Sigma 15mm ƒ2.8 EX diagonal (compact classic—tightens edges around ƒ5.6). APS-C standouts for light rigs and cine-FPV: Tokina AT-X 10–17mm ƒ3.5–4.5 DX and Pentax DA 10–17mm ƒ3.5–4.5 (close-focus champs—great for skate bowls, car interiors, and tiny rooms); the Canon/Nikon 8–15s behave as diagonal fisheyes across much of their range on crop if you already own one; also strong: Samyang 8mm ƒ2.8 UMC II (Sony/Fuji APS-C—fast, tiny) for low-light runs. Micro Four Thirds winners for gimbals and travel rigs: 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); specialty circulars like Laowa 4mm ƒ2.8 (MFT) shine for all-sky/VR-ish openers. Practical buyer tips: on full frame, an 8–15 plus a fixed prime covers 95% of needs—save two zoom stops for (a) circular hero and (b) diagonal “no-vignette”; on APS-C, the Tokina 10–17 is size-to-coverage gold; on MFT, the Oly 8/1.8 rules dark clubs and dawn city; pick rigid adapters (EF→RF/E/Z) with zero play, add 0.8-pitch focus gears if you pull, standardize step-ups where possible for one clip-in/box ND, and keep barrel weights similar to reduce rebalances. Video-shooting tips: lock a 180° shutter and ride ND, expose for faces/practicals and let walls/LEDs clip gracefully, prefer MF or slow AF transitions (breathing is subtle on fisheyes but jumpy AF is not), set a fixed zoom stop before the take, and move slowly—tiny wobbles read huge at 180°; center key faces to minimize distortion and use edges for energy, start around ƒ4–ƒ8 for cleaner corners (ƒ2.8 for mood), and keep backgrounds a few meters behind for airy separation; for gimbals, pre-balance to your heaviest fisheye, disable IBIS on sticks to avoid micro-jitter, and shade the front element with a hand/flag under harsh point lights; for de-fish, apply a consistent preset per focal length so geometry matches across shots; whether you’re skating through bowls, pushing through crowds, revealing cathedral ceilings, or stitching kinetic travel reels, the best video fisheye choices—8–15 zooms on full frame, Tokina/Pentax 10–17 or Samyang 8/2.8 on APS-C, and Olympus/Panasonic 8 mm (plus Laowa 4 mm for circular fun) on MFT—deliver adjustable 180° perspective, manageable flare, and post-friendly projection so your footage lands bold, clean, and unmistakably immersive.

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