These are the best fisheye zoom lenses when you want dramatic 180° perspectives, flexible framing (circular-to-diagonal in one lens), crisp sunstars, and durable builds for skate, surf, concerts, underwater CFWA, VR plates, and creative cityscapes—and here’s what to look for as you buy: prioritize lenses that cover both circular and full-frame diagonal fisheye at different focal ends (or at least diagonal across formats), strong flare control and coatings for point lights, close-focus for exaggerated scale, and weather-sensible mechanics; if you shoot video, look for smooth, linear MF and minimal focus breathing (fisheyes breathe less visibly, but it still matters), and plan unified filter/port solutions—front filters are rarely usable, so rely on rear/gel slots or matte boxes when possible. Full-frame heroes: Canon EF 8–15mm ƒ4L Fisheye USM (the benchmark: circular at 8 mm on FF, full-frame diagonal around 15 mm, excellent sharpness and coatings), Nikon AF-S 8–15mm ƒ3.5-4.5E ED (modern optics, quick AF, similarly versatile circular→diagonal behavior), and for mirrorless mounts (RF/Z/E/L) adapt either of these seamlessly with a quality adapter—AF and EXIF generally pass through on native-brand bodies; specialty note: Canon RF 8–15 via EF-to-RF adapter remains the most practical RF fisheye zoom today. APS-C standouts: Tokina AT-X 10–17mm ƒ3.5-4.5 DX (classic diagonal fisheye zoom for Canon/Nikon DSLR mounts—often adapted to mirrorless; sharp stopped a touch, beloved by underwater shooters for CFWA), Pentax DA 10–17mm ƒ3.5-4.5 (same optical lineage—great for K-mount), and select Tokina 10–17 conversions for mirrorless crop (check mount-specific availability/adapters); on APS-C, the Canon/Nikon 8–15s behave as diagonal fisheyes across most of the range rather than circular—useful if you already own one for FF but fly it on a crop body. Micro Four Thirds: true fisheye zooms are rare—many shooters adapt the Tokina 10–17 (via speed booster or simple adapter) or pick a prime (e.g., 8 mm class) and “zoom with fins/feet”; for cine rigs, the Canon/Nikon 8–15s remain go-to choices adapted to PL/EF-locking mounts for robustness. Practical buyer tips: choose by sensor and desired look—if you want one lens that does circular logo shots and diagonal action stills on FF, grab Canon 8–15 or Nikon 8–15; if you’re APS-C or underwater-centric, the Tokina/Pentax 10–17 offers the best balance of price, close focus, and corner behavior behind domes; for Sony/Fuji/Canon RF/Nikon Z mirrorless, budget smartly for a rigid adapter (zero play) and a housing/port combo if diving; learn each lens’s “no-crop” focal for diagonal fill on your format and set a custom zoom stop; shade the front element with a hand/flag around point lights—fisheyes invite ghosts. Fisheye shooting tips: get close (inches) for scale and impact, keep horizons centered for neutral geometry or tilt deliberately for dynamic bend, stop to ƒ5.6–ƒ8 for edge discipline and cleaner sunstars, and avoid CPLs (they blotch skies and cost light); for action, run 1/1000 s+ and pre-focus near hyperfocal for keeper rates, for interiors/architecture-with-attitude bracket and de-fish selectively in post, and for night scenes use gloves/flags to block oblique streetlights; underwater, pair the 8–15 or 10–17 with the right dome radius (large domes for blue-water scenics, mini-domes for CFWA), get within 1–3 ft to beat haze, toe strobes outward to cut backscatter, and work around ƒ8–ƒ13 for corners; for video, lock a 180° shutter with ND, move slowly (tiny wobbles read big at 180°), and use the zoom to set edge behavior before the take rather than during; whether you’re carving bowls at sunset, shooting immersive stage pits, swimming through coral heads, or crafting planet-style panos, the best fisheye zoom choices—Canon/Nikon 8–15 for FF flexibility and Tokina/Pentax 10–17 for APS-C reach—deliver that adjustable 180° drama, reliable sharpness, and rugged handling so your frames feel bold, clean, and unmistakably fisheye.