These are the best Rokinon fisheye lenses when you want bold, immersive perspective, close-focus drama, and budget-friendly optics with predictable geometry for action cams, interiors, music videos, and creative cityscapes—and here’s what to look for as you buy: decide on coverage (diagonal fisheye fills the frame vs circular fisheye that makes a round image on full frame), match lens to sensor (MFT/APS-C/FF) so the projection you want actually appears, check whether the hood is removable (handy for wider coverage or “near-circular” tricks), favor long, smooth focus throws if you pull focus, confirm minimum focus distance for exaggerated foregrounds, note the front element shape for filter use (most bulbous fisheyes need rear gels or no filters), look for consistent color if you’re building a set, and mind weight/diameter for gimbal clearance; for de-fish workflows, prefer lenses with predictable distortion and good corner sharpness, and if you shoot video, consider the Cine housings with 0.8-mod gears and declicked iris. For full-frame diagonal fisheye, the Rokinon 12mm f/2.8 ED AS IF NCS UMC (also in Cine T3.1) is the go-to: dramatic 180° corner-to-corner coverage, close focus for CFWA-style shots, crisp center with usable edges when stopped a bit, and neutral color that grades easily—great for skate, car interiors, and establishing frames; if you need a circular look on full frame, Rokinon’s 8mm fisheye variants with removable hoods can produce near-circular images on some bodies, but for clean diagonal coverage on FF stick to the 12/2.8. APS-C shooters have two heroes: the Rokinon 8mm f/2.8 UMC Fisheye II (mirrorless) brings a compact build, fast aperture for indoor/low light, and very close focus that’s perfect on Sony E/Fuji X, while the classic Rokinon 8mm f/3.5 Fisheye (CS/CS II for DSLRs, often with a removable hood) is the bang-for-buck staple—robust, predictable projection, and a long manual throw that’s great for racks; both render a diagonal fisheye on APS-C that’s easy to de-fish for ultra-wide looks. Micro Four Thirds creators should grab the Rokinon 7.5mm f/3.5 UMC Fisheye (and the 7.5mm T3.8 Cine): tiny, featherweight, sharp stopped down, and focuses close enough for bold foregrounds, making it a travel/no-gimbal favorite for action and timelapse. For cine rigs, Rokinon/Samyang ships true Cine versions with declicked apertures and 0.8 gears: the 12mm T3.1 Cine Fisheye for full frame, 8mm T3.8 for APS-C/MFT, and 7.5mm T3.8 for MFT all share long throws, consistent gear placement, and readable markings—ideal for matte boxes and follow-focus in tight interiors. Specialty picks: if you shoot interiors or VFX plates and plan to de-fish, the 12mm f/2.8’s more disciplined edges help stitching; for low-light clubs or night streets on APS-C mirrorless, the 8mm f/2.8 II’s speed and close focus give punchy neon foregrounds; for travel ultralight kits on MFT, the 7.5/3.5 balances perfectly on tiny bodies and flies well on small gimbals. Practical buyer tips: choose diagonal vs circular look before buying, match mount/sensor first, expect to use a hood or remove it depending on your goal, budget for a rear-gel ND (or skip filters) on bulbous fronts, and if you’re building a video kit, standardize on the Cine housings so gear positions match across lenses. Shooting tips: get inches from your foreground for maximum curve, keep horizons centered to balance distortion (tilt deliberately to exaggerate), stop down to tighten corners (f/5.6–f/8 for stills), shade the front element to avoid flare blooms, and de-fish selectively in post to blend straight architecture with fisheye energy. Whether you’re wrapping a stage, squeezing an entire room into one frame, or crafting dynamic POVs, the best Rokinon fisheye lenses combine dramatic geometry, close-focus fun, and cine-friendly mechanics—so your images and footage feel big, stylized, and unmistakably fisheye.