These are the best Olympus fisheye lenses, chosen for how they deliver dramatic 180° perspectives, close-focus immersion, clean coatings against sunballs and stage lights, and compact builds that balance perfectly on Micro Four Thirds (OM SYSTEM/Olympus) bodies—ideal for underwater CFWA, action, skate, architecture drama, and travel reels. The flagship pick is the M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO: uniquely fast for a fisheye, weather-sealed, sharp wide open, with autofocus and excellent flare control—brilliant for night city scenes, astro with big star points, and underwater behind a mini dome where you can get inches from coral or wreck textures; it also plays well with diffusion and ND for stylized video. For value and featherweight rigs, the Panasonic Lumix G Fisheye 8mm f/3.5 brings reliable AF, crisp rendering, and tiny size—great on gimbals and for travel interiors—while remaining a favorite for compact underwater housings. Manual-focus budget heroes round out the field: the Samyang/Rokinon 7.5mm f/3.5 UMC Fisheye is a cult classic—razor sharp stopped a touch, petite, and perfect for backpack kits; TTArtisan 7.5mm f/2.0 Fisheye adds a faster aperture and de-clicked aperture option on some versions for smooth exposure pulls; 7Artisans 7.5mm f/2.8 II Fisheye is another small, solid bargain with improved mechanics; Meike’s 6.5mm f/2.0 Circular Fisheye creates a full circular image for creative transitions and product reels; and the Laowa 4mm f/2.8 Circular Fisheye pushes that look even further with ultra-wide circular coverage that’s fun for tiny-planet photos and dynamic B-roll. Pocketable specialty: the Olympus 9mm f/8 Fisheye “Body Cap” lens (BCL-0980) is a fun, super-thin option for daylight walkabouts and travel diaries when you want the look with almost zero bulk. Image priorities that make these the “best” on MFT are consistent: strong flare resistance for sun-in-frame compositions, good edge behavior when stopped to ~f/5.6–f/8 (or f/2–f/2.8 on the faster options), coatings that keep contrast under neon and water sunballs, close-focus distances that enable true CFWA (get close to reduce backscatter underwater), and mechanics that suit video—de-clickable or smoothly damped apertures and minimal focus shift. Technique sells the curve—embrace foreground inches from the dome or front element, level horizons to keep curvature intentional, stop down for corner discipline (f/5.6–f/8 on most; the 8mm f/1.8 Pro is clean sooner), watch your feet and shadow, and use a slim ND or diffusion for cinematic motion; underwater, pair fisheyes with small/mini domes for intimate reef work, pull strobes wide to edge-light and reduce backscatter, and shoot slightly upward for color and silhouette separation. Practical kit recipes are simple: premium, sealed AF spine—M.Zuiko 8mm f/1.8 PRO for astro, concerts, and underwater minis; travel/value AF—Panasonic 8mm f/3.5 for gimbals, interiors, and boat-friendly setups; budget manual set—Samyang/Rokinon 7.5/3.5 or TTArtisan 7.5/2.0 for tiny bags and low-light flexibility; circular creativity—Laowa 4mm/2.8 or Meike 6.5/2.0 for tiny-planet stills and playful reels; ultra-lite pocket—Olympus 9mm f/8 Body Cap for “always-with-you” fisheye. Whether you’re pressing the dome into tide pools, skating under city lights, packing a one-body travel kit, or filming stylized anamorphic-adjacent vibes on a budget, the best Olympus-mount fisheyes deliver immersive perspective, close-focus drama, and portable, dependable handling that make curved worlds look intentional, vibrant, and wildly fun straight out of camera.