best travel video lens

Best lenses for travel photography in 2024: perfect all-in-one superzooms

The best lenses for travel will let you shoot almost anything, and save some space in your bag!

• Best for Canon
• Best for Nikon
• Best for Sony
• Best for Fujifilm
• Best for L-mount
• Best for MTF
• Best Canon DSLR
• Best for Nikon DSLR
• How we test

Best for Canon Best for Nikon Best for Sony Best for Fujifilm Best for L-mount Best for MTF Best Canon DSLR Best for Nikon DSLR How we test

The best lenses for travel photography will enable you to take amazing photos without weighing you down. Travel photography lenses are often versatile zooms that allow you to pack just one lens such as a superzoom but it all comes down to your shooting style and how much you want to carry.

With most of your bases covered, you can focus on snapping gorgeous landscapes, stunning sunsets or captivating portraits and the best part is if you choose to just take one lens with you, you'll never have to faff with changing it. 

When picking a superzoom lens, it’s tempting to go for the biggest zoom range you can get your hands on. However, such lenses tend to be quite large and weighty. They’re generally more convenient and less heavy than a combination of standard and telephoto zoom lenses but, when you want to travel light or go on walkabout, it’s nicer to have something smaller and more lightweight dangling off your camera strap.

Considering the 1.5x crop factor of most APS-C cameras (1.6x for Canon ), a zoom range of around 18-200mm is generally ideal. This gives you similar wide-angle coverage as from a standard zoom, while stretching your telephoto reach to 300mm in full-frame terms (320mm for Canon).

Best lenses for travel photography in 2024

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Best travel lens for Canon mirrorless cameras

1. Canon RF 24-240mm f/4-6.3 IS USM

Our expert review:

Specifications

Reasons to buy, reasons to avoid.

If you're an EOS R-series shooter and want something with a longer focal range than the Canon's two 24-105mm options, then you're in luck as there’s also a superzoom option that isn’t overly big and heavy, and doesn’t cost silly money. It comes in the shape of the RF 24-240mm, which squeezes a very useful 10x zoom range into a reasonably lightweight and weather-sealed build. Further attractions include a Nano USM autofocus system which is super-fast for stills and enables smooth and virtually silent focus transitions during movie capture, and a highly effective 5-stop image stabilizer. At the short end of the zoom range, color fringing can be noticeable and barrel distortion is massive, but both of these aberrations are corrected in-camera by default, and when processing raw files. With this lens, Canon is combining optical and digital corrections rather than relying on optical corrections alone.

Read our full Canon RF 24-240mm f/4-6.3 IS USM review

Best travel lens for Nikon mirrorless cameras

2. Nikon Z 24-200mm f/4-6.3 VR

The list of travel-friendly credentials for this soon-to-be-launched lens is long and impressive. It’s particularly compact and lightweight for a full-frame lens that boasts such an extensive zoom range, yet has a sturdy construction that includes comprehensive weather-seals and a fluorine coating on the front element to repel moisture and grease. Image quality benefits from the inclusion of two aspherical elements, one aspherical ED (Extra-low Dispersion) element and two further ED elements. Nikon ’s high-tech ARNEO coating is also applied to minimize ghosting and flare. Not just for stills, the stepping motor-driven autofocus system enables smooth focus transitions during movie capture, along with minimal focus breathing and focus shift when zooming. Ideal, for full-frame Z-series cameras, the lens is also an interesting travel choice for the Z 50 , where this camera's 1.5x crop factor gives this lens an effective zoom range of 36-300mm. 

Read our full Nikon Z 24-200mm f/4-6.3 VR review

Best travel lens for Sony cameras

3. Sony FE 24-240mm f/3.5-6.3 OSS

Although fully compatible with Sony ’s APS-C format E-mount cameras, on which this lens has an effective focal length of 36-360mm, this lens really comes into its own on full-frame bodies. It’s typically weighty for a full-frame format superzoom but doesn’t feel overly large and has refined handling. The 10x zoom range kicks off at 24mm, enabling a generously wide maximum viewing angle, and there’s good telephoto reach at the long end. Based on a stepping motor, the autofocus system is quick and quiet, while Optical SteadyShot gives a benefit of around 3-stops in beating camera-shake. The optical path includes no less than five aspherical elements, plus one ED (Extra-low Dispersion) element. Image quality is mostly very good for a superzoom lens although corner-sharpness is a little lacklustre at the short end of the zoom range, and overall sharpness drops off at the long end.

Best travel lens for Fujifilm cameras

4. Fujifilm 18-135mm f/3.5-5.6 WR LM R OIS

From Fujifilm ’s acclaimed XF stable of lenses for its APS-C format mirrorless X-mount cameras, this one has an impressive string of letters after its name. It’s a WR (Weather-Resistant) lens with no less than 20 areas of sealing in its construction. It features a fast and virtually silent LM (Linear Motor) autofocus system that’s super-fast for stills and smooth for movie capture. Handling is enhanced by the ‘R’ control ring, and it has a particularly effective 5-stop OIS (Optical Image Stabilizer). Quality glass includes four aspherical elements and two ED (Extra-low Dispersion) elements. The 7.5x zoom range is a little limited compared with some other travel lenses on the market but this helps to enable a relatively compact construction. Image quality is very impressive overall, although corner-sharpness is a little mediocre towards both ends of the zoom range.

Best travel lens for L-mount cameras

5. Panasonic Lumix S 28-200mm f/4-7.1 Macro O.I.S.

If you're in search of a versatile travel lens for your Lumix S5, the Lumix S 28-200mm f/4-7.1 O.I.S. fits the bill perfectly. This lens stands out as the most compact and lightweight 7x superzoom lens available for any system, making it an ideal companion for travel without adding bulk or weight to your carry-on. Covering a range of commonly needed focal lengths, it's a must-have addition to any Panasonic photographer's gear collection.

While the focal length falls slightly shorter compared to other brands, limiting its versatility for sports and wildlife photography, the trade-off for its compactness is reasonable and easily accepted.

There are no compromises on image quality to be found here – the 28-200mm lens performs admirably, with only minor inconsistencies at the extreme end of the zoom. While it may not match the sharpness of prime or professional lenses, Panasonic has achieved commendable results for a lens of this category.

The standout feature of this Lumix S 28-200mm lens is its Dual I.S.2 image stabilization, combining optical stabilization with in-body stabilization. This system is among the best available, significantly enhancing stability for both still photography and particularly impressive results in handheld video shooting, even at 200mm.

Read our full Panasonic Lumix S 28-200mm f/4-7.1 Macro O.I.S. review

Best travel lens for Micro Four Thirds

6. Panasonic LUMIX G VARIO 14-140mm f/3.5-5.6 II ASPH Power OIS

Micro Four Thirds format travel zooms from Olympus include the budget-friendly 14-150mm II and the up-market 12-200mm. They’re both very desirable lenses but we prefer this Panasonic option, which splits the two Olympus zooms for selling price, while adding a highly effective 4-stop optical image stabilizer. Thanks to the 2x crop factor of Micro Four Thirds cameras, the effective zoom range is 28-280mm in full-frame terms, thereby nearly matching 18-200mm lenses on APS-C format cameras. It delivers this in a remarkably compact package that weighs a mere 265g. That’s only about half the weight of some APS-C format 18-200mm lenses, making the Panasonic particularly travel-friendly. Even so, it packs a fast autofocus system and quality glass, including three aspherical elements and two ED (Extra-low Dispersion) elements. For a superzoom lens, sharpness is both very good and highly consistent throughout the entire zoom range.

Read our full Panasonic LUMIX G VARIO 14-140mm f/3.5-5.6 II ASPH Power OIS review

Best travel lens for Canon DSLR cameras

7. Canon EF 24-105mm f/4L IS II USM

Canon does make a proper full-frame superzoom travel lens - the EF 28-300mm f/3.5-5.6L IS USM - so why have we picked this 24-105mm instead? Quite simply, this is a better travel lens. At 795g, it's less than half the weight of the 28-300mm, so is much more travel-friendly, and it's also about half the price. That still doesn't make it cheap, but at least you can feel a little less conspicuous.

The new Mk II version of the EF 24-105mm f/4L IS has been redesigned to be tougher and more resistant to shock and vibration, and it features fluorine coatings on the front and rear elements. More importantly, the optics have been revamped, with the aim of improving sharpness across the whole image frame, throughout the zoom range.

Barrel distortion from the preceding 24-105mm lens was notoriously bad at the short end of the zoom range, but the Mk II performs a little better. It’s also a bit sharper, autofocus is a little quicker and bokeh is smoother, thanks to the fitment of ten, rather than eight, diaphragm blades. Overall, however, each of the improvements is quite subtle rather than making a hugely noticeable difference.

Read our full Canon EF 24-105mm f/4L IS II USM review

Best travel lens for Nikon DLSR cameras

8. Nikon AF-S 24-120mm f/4G ED VR

Nikon and Tamron have both manufactured 28-300mm superzoom lenses for many years, offering a travel-friendly option for Nikon full-frame SLRs. There’s not a lot to choose between them for handling, image quality and all-round performance. Both are good rather than great. To make the most of Nikon’s recent full-frame SLRs, it pays to set your sights rather lower in terms of zoom range, and to go for quality instead. The latest edition of Nikon’s 24-120mm VR is our first choice. It’s relatively compact and has excellent handling characteristics. It also gives you more a generous wide-angle perspective at the short end of the zoom range. The flipside, naturally, is that you’ll lose out on powerful telephoto reach, but that's often less useful than you expect anyway.

Read our full Nikon AF-S 24-120mm f/4G ED VR review

How we test travel lenses

We test lenses using both real world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. We find the combination of lab and real-word testing works best, as each reveals different qualities and characteristics.

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Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! 

His expertise with equipment doesn’t end there, though. He is also an encyclopedia  when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. 

In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.

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Notable Mentions

Recent updates, all reviews, the 5 best travel cameras - spring 2024 reviews.

A good camera can be an indispensable travel companion, letting you capture your adventures abroad to share with friends and family. For many, the best choice for traveling will be the camera you've already got in your pocket—your smartphone. However, if you want to step up your photography game, there are plenty of great options out there. While it can be hard to narrow them down, it's important to consider things like portability, battery life, and build quality, as well as your own ergonomic preferences and, most importantly, your budget.

We've bought over 100 cameras, and below, you'll find the best cameras for travel photography that we've tested in our lab. If you're specifically looking for a point-and-shoot camera, check out the best compact cameras for travel  instead. Or, if you're interested in capturing beautiful landscapes on your travels, the  best cameras for landscape photography might also be of interest. Travel vloggers can have a look at our top vlogging picks  as well.

Best Camera For Travel

The OM SYSTEM OM-5 is one of the best travel cameras you can get. As part of the Micro Four Thirds (MFT) system, it offers a good combination of portability, ruggedness, and image quality. Though it isn't as heavy-duty as higher-end models like the OM SYSTEM OM-1 or the older Olympus OM-D E-M1 Mark III , it has a more compact body that makes it better for travel. Plus, it's compatible with a wide selection of portable MFT lenses that will keep the overall size of your kit down.

Beyond its compact size, the camera feels well-built, with weather-sealing for added peace of mind in adverse weather conditions. It also has an excellent five-axis in-body image stabilization (IBIS) system, which can reduce camera shake in travel vlogs or help you shoot at slower shutter speeds without a tripod. Unfortunately, it doesn't have the longest battery life, so you might have to buy a spare battery for long days on the go, but if you're looking for something small and mighty, this is an excellent travel camera for the price. If you want to save even more money, the older Olympus OM-D E-M5 Mark III is nearly identical and can be found for less if you buy used, though it uses an older processor and lacks some extra features like 'Live ND' mode.

See our review

Best Full Frame Camera For Travel

The Sony α7C is the best camera for travel photography if you care about image quality. It's one of the most compact full-frame bodies on the market, proving that you don't need to sacrifice image quality for portability. While it's the largest option on this list, and full-frame lenses will inevitably take up more space, it's impressive how compact Sony made this camera while including features like IBIS and a fully articulated screen.

The α7C's high-resolution full-frame sensor performs incredibly well in low-light environments, with plenty of dynamic range to capture a wide array of detail and excellent noise handling. The camera also has a fantastic battery life and a sturdy, weather-sealed body. That said, its ergonomics leave a little to be desired, particularly when shooting through its tiny viewfinder. The camera's successor, the Sony α7C II , is one of the best video cameras for travel thanks to upgraded video specs, but the original α7C is a better overall deal for most travelers because of its lower price and similar feature set.

Best Mid-Range Camera For Travel

If you can do without IBIS and want something a bit more affordable, the Fujifilm X-T30 II is a great mid-range option. It uses an APS-C sensor and has a portable, lightweight body that's ideal for traveling. While it lacks more premium features like weather-sealing and advanced video specs, it's still a relatively sturdy camera, and its dedicated exposure dials give you more hands-on control over exposure settings on the fly.

Aside from having a portable exterior, the  X-T30 II  uses a high-resolution crop sensor that delivers excellent image quality straight out of the camera. Film simulation profiles make the camera a blast to shoot with and make it easy to change up the look of your photos without having to do any post-processing. On top of that, it has a decent autofocus system and a relatively long-lasting battery, making this an excellent travel camera for the price.

Best Budget Camera For Travel

If you're on a tighter budget, the Olympus OM-D E-M10 Mark IV is a great choice that brings a lot of value to the table. Like the higher-end OM SYSTEM OM-5 above, it uses an MFT sensor, making for a remarkably portable camera kit with plenty of lightweight and affordable lens options. It's also a great choice for beginners, thanks to simple controls and easy-to-use creative shooting modes.

This is one of the few budget cameras to feature IBIS, so it's a good choice if you also like to shoot vlogs or videos on the side. IBIS is also helpful in low light, letting you shoot at slower shutter speeds without a tripod. However, this is still an entry-level model, so it doesn't have the greatest build quality. Its autofocus system can also be sluggish with faster subjects. If you'd prefer a camera with a more reliable autofocus system, the Canon EOS R50 is an amazing alternative and is even a bit cheaper. However, its lens options are more limited, and it's less portable overall.

Best Point-And-Shoot Camera For Travel

A premium point-and-shoot is the way to go if you need something compact but more capable than your smartphone camera. The Sony RX100 VII has been going strong for several iterations, and for good reason. This latest model uses a stacked 1-inch sensor, so image quality is very solid for its class. It's also a remarkably portable camera, so you can bring it with you wherever your travels take you, and its built-in lens has a fairly long zoom range that's great for travel snapshots of everything from landscapes to far-away subjects.

Be aware that compact cameras like this have a limited battery life, though you can always bring a spare battery or a portable battery pack to charge it on the go. The RICOH GR III is a great alternative if you want something more minimalist. It doesn't have a viewfinder, and its fixed focal length lens is less versatile than the zoom lens on the Sony. However, it has a larger APS-C sensor that delivers excellent image quality and is better suited to low-light situations. On the other hand, if you're looking for something cheaper, you can still find older generations of the RX100 on eBay and other used camera retailers.

• Fujifilm X100V: The Fujifilm X100V is a large-sensor point-and-shoot camera. It isn't nearly as portable as the Sony RX100 VII, and its fixed focal length isn't as versatile as the Sony camera's zoom lens. However, it's still relatively compact, and its larger sensor captures higher-quality images if that's a priority. Just be aware that stock shortages have made it very difficult to find, and it's been replaced by the Fujifilm X100VI. See our review
• Sony ZV-1: The Sony ZV-1 is a great point-and-shoot if you do more travel vlogging than photography. It performs similarly to the Sony RX100 VII in image quality and autofocus but has a shorter zoom range and lacks a viewfinder. On the flip side, it has a fully articulated screen and a better internal mic for vlogging. See our review
• Sony ZV-E1: The Sony ZV-E1 is a full-frame camera that's even more compact than the Sony α7C. It's a great choice for high-quality travel videos, with a sensor optimized for low light. However, it lacks a viewfinder and is generally less versatile for photographers and hybrid shooters. See our review

Mar 13, 2024: We've removed the 'Best Action Camera For Travel' since we've temporarily paused buying and testing action cameras.

Feb 15, 2024: Minor tweaks to text to ensure article is relevant to the current state of the market.

Jan 19, 2024: Replaced the Olympus OM-D E-M5 Mark III with the OM SYSTEM OM-5 in the top spot, because it has better availability and performs very similarly.

Dec 21, 2023: Added mention of the OM SYSTEM OM-5 as an alternative to the Olympus OM-D E-M5 Mark III.

Nov 22, 2023: Checked that picks still meet user needs and expectations.

Our recommendations above are what we think are currently the top travel cameras for most people, according to their needs. We factor in the price, feedback from our visitors, and availability (no cameras that are difficult to find or almost out of stock in the U.S.).

If you'd like to choose for yourself, here's the list of all of our camera reviews, ranked by their suitability for travel photography. Be careful not to get caught up in the details. There is no single perfect camera. Personal taste, preference, and shooting habits will matter more in your selection.

Best superzoom lens for travel: 8 lightweight optics tested and rated

Whether you're travelling near or far, it's nice to travel light. In our search for the best superzoom lens for travel we put 8 space-saving optics head to head.

Best superzoom lens: the contenders

1 Canon EF-S 18-200mm f/3.5-5.6 IS, £390 / $590 2 Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR, £600 / $895 3 Olympus M.Zuiko Digital ED 14-150mm f/4-5.6 II, £550 / $840 4 Panasonic Lumix G 14-140mm f/3.5-5.6 ASPH Power OIS, £480 / $730 5 Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM | C, £270 / $410 6 Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM | C, £400 / $610 7 Tamron 14-150mm f/3.5-5.8 Di III, £340 / $520 8 Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro, £480 / $730

Photography can literally be a pain. If you're exploring a city, rambling around the countryside, or heading to the other side of the world, a weighty bag of cameras, lenses and accessories will soon have you feeling the strain.

Wouldn't it be nice if you could get the advanced handling and image quality of a system camera, without the chore of lugging a big collection of kit around with you? That's where superzoom lenses come in.

They aim to deliver standard and telephoto zoom capabilities in a single, space-saving package - but it's not just about keeping the size and weight of your gear to a minimum.

Superzooms have long been popular for their versatility. It's great being able to react quickly as shooting opportunities arise, zooming from wide-angle to telephoto and everything in between at the flick of a wrist.

You'll avoid the frustration of missing shots altogether because you were too busy changing lenses.

Another bonus for the digital age is that, without needing to swap lenses on the camera so often, you can greatly reduce the risk of dust and muck being dumped on the image sensor.

It's especially true for compact system cameras, where the sensor is in plain sight when changing lenses, rather than being hidden away behind a mirror and shutter assembly.

SEE MORE: Best telephoto lens in the mid-price range - 8 top optics tested and rated

Features to look for in a superzoom lens

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Slim and Trim In the downsizing stakes for travel-friendliness, it naturally helps if the host camera is also reasonably compact and lightweight.

The biggest competition among superzoom lenses is therefore in APS-C format SLRs, rather than their larger full-frame siblings, and in compact system cameras. The physically smaller image sensors usually fitted to today's CSCs enable lenses to be even tinier.

One reason for this is that the image circle the lens needs to produce is relatively small. The second is that the greater crop factor (for example 2.0x for Micro Four Thirds cameras instead of 1.5x or 1.6x for APS-C) means that the actual focal length range tends to be smaller.

As a case in point, The Canon 18-200mm APS-C format lens and the Olympus 14-150mm MFT lens both give a similar effective zoom range, equating in 35mm terms to 28.8-320mm for the Canon and 28-300mm for the Olympus.

However, while the Canon measures 79 x 102mm and weighs 595g, the Olympus is much smaller at 64 x 83mm and less than half the weight at 285g.

There's been some significant weight loss in APS-C format superzooms over the last few years as well. In our last group test of superzooms, we featured the Nikon AF-S DX 18-300mm f/3.5-5. 6G ED VR, which we criticised for its podgy proportions of 83 x 20mm and hefty weight of 830g.

The newer Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR is a third of a stop slower at the long end of its zoom range, but a much more manageable 79 x 99mm and 550g.

A further indication is that the filter thread shrinks from 77mm to 67mm. Even so, the 'slimmer of the year' award goes to Sigma, whose current 18-200mm and 18-250mm lenses (the latter not reviewed this time around) for APS-C format SLRs are much smaller than the original editions, tipping the scales at just 430g and 470g respectively.

The 18-200mm featured in this group test measures just 71 x 86mm, so it's barely bigger than most standard zoom lenses for this class of SLR.

SEE MORE: Best wide-angle prime lens - 8 top options tested and rated

The Long and the Short Some superzoom lenses go all out for zoom range instead of trying to keep size and weight to a minimum. Sigma's latest offering is an 18-300mm lens that gives longer telephoto reach than any of its previous superzooms (not counting the enormous Sigma 50-500mm super-telephoto zoom). Size and weight creep up again to 79 x 102mm and 585g.

Tamron has a habit of eyeing up the biggest zoom range on the market - then trumping it. The company has struck again with its latest 16-300mm lens for Canon, Nikon and Sony APS-C format SLRs.

As well as having a class-leading 18.75x zoom range, it gives greater wide-angle coverage than any other superzoom, with an effective shortest focal length of just 24mm (25.6mm in its Canon fit), whereas most superzooms are equivalent to 28mm at their shortest zoom setting.

SEE MORE: Best budget prime lens - 8 top optics tested and rated

Getting back to the long end of the zoom range, one perennial problem of telephoto shooting is camera-shake, especially for travel and walkabout shooting, where you may not want to be carrying a tripod around with you.

To combat this, all of the Canon-fit and Nikon-fit lenses featured in this group test have optical image stabilisation. Sigma and Tamron both omit the stabiliser from APS-C format superzooms in their Sony-fit option (also Pentax for Sigma), as the host cameras typically have sensor-shift stabilisation built in.

The same goes for Olympus Micro Four Thirds cameras, whereas Panasonic bodies often don't have built-in stabilisation. The Panasonic 14-140mm MFT lens on test here therefore includes a Power OIS (Optical Image Stabilizer).

SEE MORE: Best lens for portraits - 5 sensibly priced options tested and rated

Roll out the barrel We're all used to zoom lenses extending in length as you sweep through the zoom range. However, while extension is often minimal with wide-angle and standard zoom lenses, or non-existent with many constant-aperture zoom lenses, superzooms are a different story.

While all of the lenses in this group test are reasonably compact and manageable, to varying extents, they all extend greatly as you zoom from the shortest to the longest available focal length.

As a rule of thumb, you can expect a superzoom lens to double in length at its maximum telephoto setting. Add a lens hood as well (sold separately for the Canon and Nikon lenses on test) and the overall length can be more than you bargained for.

SEE MORE: How to get the very best results from whatever lens you have

Best superzoom lens for travel: 01 Canon EF-S 18‑200mm f/3.5-5.6 IS

£390 / $590 Despite being outgunned for zoom range by the newer Nikon and Sigma 18-300mm lenses, as well as the Tamron 16-300mm, the Canon is the outright heaviest lens in the group, and the joint biggest along with the Sigma.

Launched in 2008, the Canon looks and feels quite dated. There's no focus distance scale and autofocus is based on a simple and fairly noisy electric motor.

Unlike Canon lenses that feature ring-type ultrasonic or stepping motor system (the latter adopted in the newer 18-135mm STM lens), the focus ring rotates during autofocus and there's no full-time manual override.

On the plus side, the lens features a late-generation image stabiliser that has a four-stop rating and comes complete with automatic panning and tripod detection.

Two UD (Ultra-low Dispersion) elements are fitted to combat chromatic aberrations and Super-Spectra coatings are applied to reduce ghosting and flare.

Overall build quality feels fairly robust, but the mount lacks a weather-seal ring. It also suffers badly from zoom creep.

Performance Autofocus is reasonably quick for an electric motor-driven system and, in our tests, the stabiliser gave a three-stop benefit. Sharpness is below average throughout the zoom range, but there's no major drop-off at the telephoto end.

Barrel distortion at the wide-angle end is worse than all others apart from the Tamron 16-300mm, which gives a wider angle of view.

Tech focus… 16 elements in 12 groups; six diaphragm blades; closest focus distance, 45cm; 72mm filter thread; electric motor autofocus; 79 x 102mm; 595g.

Features: 3/5 Build Quality: 3/5 Image Quality: 3/5 Value: 3/5

Overall Score: 3/5

SEE MORE Canon lenses - 40 tips for using, choosing and buying Canon-fit glass Nikon lenses from A-Z: the ultimate photographers' guide

Best superzoom lens for travel: 02 Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR

£600 / $895 There are currently two Nikon 18-300mm lenses on the market, this newer one having a narrower f/6.3 rather than f/5.6 aperture at the long end of the zoom range. It's also a lot more travel-friendly than the older lens, being smaller and nearly 300g lighter, at 550g.

Like most Nikon lenses, this one features a rubber weather-seal ring on its metal mounting plate. It beats the competing Canon lens by featuring ring-type ultrasonic autofocus, which is reasonably quick, very quiet and comes complete full-time manual override.

As usual for this type of system, the focus ring doesn't rotate during autofocus. Switches are on hand for auto/manual focus, VR (Vibration Reduction) on and off and zoom lock.

We experienced four-stop effectiveness from the VR and, unlike the older Nikon 18-300mm and 18-200mm superzooms, there's no zoom creep.

Even so, there's a budget look and feel to the lens, which lacks a focus distance scale and is supplied without a lens hood (sold separately).

Performance Despite featuring three ED (Extra-low Dispersion) elements, colour fringing is the second worst in the group.

At least in-camera corrections take care of fringing in current and recent Nikon SLRs, when shooting in JPEG mode or processing raw files in Nikon's own software.

Sharpness is good at wide to mid zoom settings but drops off a lot at the long end. Distortion levels are pretty average.

Tech focus… 16 elements in 12 groups; 7 diaphragm blades; closest focus distance, 48cm; 67mm filter thread; ultrasonic (ring type) autofocus; 79 x 99mm; 550g.

Features: 4/5 Build Quality: 4/5 Image Quality: 3/5 Value: 2/5

SEE MORE: 7 questions photographers must ask before buying their next lens

Best superzoom lens for travel: 03 Olympus M.Zuiko Digital ED 14-150mm f/4‑5.6 II

£550 / $840 Remarkably simple, the Olympus is the only lens in the test group that has no buttons or switches. There's not even one for locking the zoom mechanism, although this isn't a problem as there's no hint of zoom creep.

There's no optical image stabiliser either, as it relies on in-camera stabilisation from Olympus Micro Four Thirds bodies. Finally, there's no auto/manual focus switch as this is taken care of by the host camera.

The stepping motor autofocus system is optimised for shooting both stills and movies. It's virtually silent, reasonably quick for stills and gives silky smooth transitions when shooting movies.

Multi-coatings are applied to all lens elements to keep ghosting and flare to a minimum and, of the three aspherical elements, one is made from ED (Extra-low Dispersion) glass.

Compact and lightweight at 64 x 83mm and 285g, the lens has a high-precision feel to its construction, complete with a weather-sealed mount and dust, splash and freeze-resistance.

SEE MORE: 11 common lens errors (and how you can avoid them)

Performance The Olympus beats the competing Panasonic MFT lens for sharpness at wide-angle and mid-zoom settings but drops off at the long end of the zoom range.

Sharpness levels are below average, but colour fringing and distortions are complete non-issues on the OM-D E-M1 that we used for testing. For telephoto shooting, we found in-camera stabilisation gave a two-stop advantage, proving less effective than the Panasonic lens's optical stabiliser.

Tech focus… 15 elements in 11 groups; seven diaphragm blades; closest focus distance, 50cm; 58mm filter thread; stepping motor autofocus; 64 x 83mm; 285g.

Features: 3/5 Build Quality: 4/5 Image Quality: 4/5 Value: 3/5

SEE MORE: Olympus cameras - the full and complete range explained

Best superzoom lens for travel: 04 Panasonic Lumix G 14-140mm f/3.5-5.6 ASPH Power OIS

£480 / $730 Weighing in at just 265g and measuring 75mm in length, this Panasonic lens is even lighter and smaller than the competing Olympus superzoom.

It's also slightly shorter in maximum focal length, equivalent to 280mm instead of 300mm on Micro Four Thirds cameras, but adds optical stabilisation.

Panasonic claims a 2x improvement in its Power vs Mega optical image stabilisation system, and it's certainly a big advantage over the Olympus and Tamron MFT lenses in the group, which have no optical stabilisation at all.

The addition isn't just good news for owners of Panasonic cameras with no built-in stabilisation, as it gives the choice of whether to use optical or sensor-shift stabilisation on other MFT cameras.

Build quality feels almost as refined as in the Olympus lens but the Panasonic lacks weather seals. However, it features two ED elements where the Olympus only has one.

The stepping motor autofocus system is similarly silent and suitable for stills and movie capture.

Like the Olympus and Tamron MFT lenses here, manual focusing is an electronic 'fly-by-wire' affair.

SEE MORE: Panasonic cameras - the full and complete range explained

Performance There's a dip in sharpness in the middle of the zoom range but it's pretty good at either end. Sharpness in handheld telephoto shots gets a boost from the optical stabiliser, which gives a benefit of about three and a half stops.

Tests from our OM-D E-M1 revealed slightly more noticeable distortions than from the Olympus, but well controlled with minimal colour fringing.

Tech focus… 14 elements in 12 groups; seven diaphragm blades; closest focus distance, 30-50cm; 58mm filter thread; stepping motor autofocus; 67 x 75mm; 265g.

Features: 4/5 Build Quality: 4/5 Image Quality: 3/5 Value: 4/5

Overall Score: 4/5

How to get sharp photos when using a telephoto lens Angle of View - how to choose the right focal length to frame your images What is maximum aperture? Which lenses go widest (and why it matters) 10 reasons why your photos aren't sharp (and how to fix them)

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What Is the Best Prime Lens for Travel Photography?

Travel photography is a staple genre of the craft and one that most photographers try at some point. However, with such a broad scope and the many other genres that it encompasses, it can be hard to keep your kit bag light. So, what's the best prime lens?

There is, of course, no correct answer, only opinions. Zoom lenses are particularly popular as walkaround, do-it-all options, but if you prefer primes or you need faster glass, a prime lens might be your only option. You then have the difficult task of working out which focal length best suits your needs.

The nifty-fifty has always been a favorite of photographers from a range of genres, but for some (myself included), it's something of a half measure. What many travel photographers opt for instead is a wider prime and in this video, TKNORTH discusses his new favorite, the Sigma 24mm f/1.4 DG HSM Art . That is particularly wide and fast, which lends itself to versatility, with wider shots on the menu, but also close-ups of subjects with a narrow depth of field and good subject separation from the background.

I have used a 24mm f/1.4 before and though I didn't expect to enjoy it as I gravitate towards far longer primes, I had to concede that it wasn't short of creative applications. For me, the success of a prime that wide is its widest aperture being so wide; had it have been an f/2.8, I would have wholly disagreed with the sentiment of this video.

What prime lens do you reach for when it comes to travel photography and why? Share your thoughts in the comment section below.

If you love travel and photography, consider checking out our Photographing the World Series with Elia Locardi where we go to some of the most beautiful locations in the world and teach the process of creating world class landscape images.  Save 15% by using "ARTICLE" at checkout.

Robert K Baggs is a professional portrait and commercial photographer, educator, and consultant from England. Robert has a First-Class degree in Philosophy and a Master's by Research. In 2015 Robert's work on plagiarism in photography was published as part of several universities' photography degree syllabuses.

I find 24mm way to wide. To be honest 35mm will be bit more use I think if it comes to general purpose ....you can always pan for landscape....and it of course depends what camera you shoot....you can also crop when your camera delivers enough megapixels .

I'm going to agree. For me, a Fuji X-T3 shooter, my Viltrox 23mm f/1.4 (Full Frame 34.5mm Equivalent) is the perfect focal length for travel photography. Its versatile enough for everything that doesn't require a telephoto. If I was still shooting with Sony, I'd definitely get the Sigma 24mm.

Depends on camera and style. For crop sensor I use 24/50 combination, for full frame it’s 35/85.

No way, a 600mm F/4 is the one

I wonder for the various cute birds, has anyone found a way to convince them to volunteer for some portrait photos with a much shorter focal length, in return for compensation?

For example food, toys, or electronics?

A 24mm lens on crop body works well, but why the heck does it need to be f/1.4? This lens is nearly on par with Canon's 24-105 f/4 in terms of size and weight. Ok, travel preferences will vary. The Canon 24mm f/2.8 is a nice pancake lens, making the entire setup look like a toy and less obvious.

Low light, subject separation.

You describe special cases, not general usage. Traveling requires flexibility.

Flexibility in what exactly? If you limited to take one lens only I dont think the pancake lens will do the best job. 24/2.8 yet on a aps-c is pretty much like smartphone photos... Only the quality on pixel level is better

Give me a nifty -50. I’ll stitch in photoshop if it’s not wide enough.

I agree with other posts that for FF 35mm is the best. A touch wide but not distorting with the ability to stitch together frames.

Have not quite figured out the need for fast glass in the digital times, except for the bokeh and narrow DOF. In the film days fast glass allowed for a faster SS to handle the motion of clicking the shutter hand held! Why a travel lens at one focal point and fast glass today! When one travels you never know what you will see/come across, so a telephoto is the best to have. In the Sony world (since '14) you have several 2470, 70200 (f/4,2.8) the best is the FE 24-240mm F3.5-6.3 OSS (360 in APS-C mode) it is wide but has reach and is OSS where primes don't. How many cameras have IBIS so why use a prime without IS, you will also need sticks (extra for travel). After 8 years with most every Sony prime and telephoto lens I carry everyday in a teardrop bag a A7iii with the 24-240mm and the surprise the APS-C E 1018mm f/4 OSS (15-27mm) that is also 12-18mm in full frame (18mm if remove the light shield) that uses screw on filters and both lenses have the Haida Filters adapter that I can use the Clear Night filter at night. Be truthful, how many travel with a backpack of gear or even one lens. As far a bokeh/dof it is where you set you focus and mode, and for clarity near and far you will set f/# 2 stops above wide open. Truth, Yes when I travel away from home I have all my primes and telephotos for planned captures BUT for the unplanned everyday drive/walkabout it is my Teardrop bag. Today it is SW that gets clarity and or bokeh in the end!!!!

I like the 40mm Zeiss Batis. It's got some macro capabilities, autofocus, lightweight and is fast enough at F2.

Articles like these always leave me wondering "Why?". The usual motivations for carrying a prime are improved clarity, less weight, faster lens. But, even a simple comparison of, say, the Sigma 24mm mentioned in the article versus, say, Canon's RF24-105mm challenges those benefits. The Sigma weighs a "svelte"1.46 pounds (665 grams), while the Canon weighs a "whopping" 1.54 pounds (700 grams). The Sigma spec's don't mention image stabilization, so presumably there is none. Compare that to the Canon's 8 stops of IS when mounted on a Canon R5, and the Sigma's f/1.4 doesn't seem so impressive compared to the Canon's f/4.. Improved clarity? The reviews of both lenses suggest that, if you can see the difference in clarity, you're probably looking fhrough a microscope. So, for 35 grams, would I ever really want to give up the reach of a 24-105 zoom? Not in my lifetime, where that extra reach has enabled me to capture images not possible with a 24 mm prime. .

for me in M43 land, I have the Oly 12-42, and I will always also carry the 20mm Pana. size and weight I don't even realize it's in the bag, 100g. speed is huge, 2.8 for the Oly zoom, vs 1.7 for the Pana prime.

no brainer really.

Define the type of travel photography?

If it's for weeks at a time in a far off land (like I do), then there is no single lens. You need to build a kit that is light enough to get on the small turbo prop planes that get you out in the sticks.

I like shooting with 2x identical FF bodies at the same time. Therefore I carry:

20/21 F2.8 for landscapes + light travel CF tripod.

35 F1.4 + 85 F1.8/F1.4 for 90% of the shots, one on each body.

70-200 F4 for the long end.

Everything has to be able to be carried on, especially batteries, so weight is the killer.

Well, I chose the Leica Q2 as best travel combination for me (enough MP to crop and wide enough), but before owning that I'd have chosen the Fuji X100F which I owned previously, so 35mm would do as well.

On the EOS R system I'd take the lightweight RF 35mm f1.8 IS macro lens, which is a hell of an allrounder lens, unfortunately not weather sealed. I guess you find similar options for nearly every camera system.

Unbelivable that nobody had mentioned 28mm...

Since I had an Old pancake Nikon 28mm, I've found it more organic and cinematographic than the 35mm, less wide than a 24mm, making composition less busy.

Your phone is the best choice for travel 👌

for M43, the 20mm 1.7 Panasonic is always in my bag. lens weighs 100g, and is 2.5" diameter, and 1" length.

absolutely tiny. sharpness is great, where it drops off is on the focus speed, it is slow to focus. any other aspect though, it shines.

I struggled with this recently on a trip to Hawaii. I love macro and wildlife photography, but this was a couples excursion, not exclusively a photography one. I settled for my Nikkor Z 40mm f/2 and a Nikkor Z 24-200mm f4-6.3.

For me the issue with just a prime is sometimes when I'm traveling with family, I want to crop close without dragging my kids/wife across the street or make them wait while I sneak to get close enough to wildlife. A variable zoom is great and compact - maybe not getting any professional wildlife shots, but sharp enough for myself.

I can never go without a prime though, because for human subjects I just can't go without the ability to customize my f stop at more usable levels to isolate depth of field and enhance sharpness by limiting ISO. Do I usually keep it at f/4ish? Sure. But do I take quite a few shots at 2 or 2.8? You bet.

While it is not a prime lens, it is a fixed lens. The Sony RX 10 IV is a 24 to 600 mm Zeiss lens that is by far the best camera and lens for travel photography.

35mm 1.4. You can sit directly across from the people you are traveling with and take an environmental portrait with the perfect amount of subject separation from the background and foreground. In a tight room, it may seem not wide enough but often, just put the camera against the wall and it usually works. It really captures the moment without the distortion of a 24mm. I find that 24mm really doesnt solve the problem of not having a wide enough lens in a small sapce. You will get distorted faces and the the atmosphereis will be altered by inaccurately representing the size of the room. Once in a while you do run into a large landmarks that just wont work with a 35mm but you can either bring a 16-35mm or a 24mm. Or simply use a smartphone because you probably don't want much or any background blur anyways in a shot wider than 35mm.

My SLR days go back to a Nikon FTn back in 1974. I traded it in for Hasselblad for weddings, but when I went back to 35mm, i chose the super small Pentax ME with a pancake 40 f/2.8. It had a belt clip. I took it everywhere! Best lens focal length ever. Fast forward nearly 50 years, Nikon released the Z 40mm f/2. On a Z5, it's hard to beat for a concealable travel camera. I ordered the 28 f2.8 for my Z50. 42mm equivalent with the crop. Hard to beat it now. Small and light. Crazy sharp since I'm not using the edges!

Finding the Universe

Travel tales, photography and a dash of humor

The Best Camera Lenses for Travel Photography

Last updated: April 7, 2024 . Written by Laurence Norah - 71 Comments

As a professional travel photographer, I’m often asked about camera gear, and in particular, folks contact me to ask me what the best camera lens for travel photography is. Often people have bought a camera with an interchangeable lens, like a mirrorless or DSLR camera, and are looking to upgrade their kit to meet their needs.

I’ve already written a guide to the best cameras for travel photography , but as that only covers camera and not lenses, I thought it would make sense to follow up with a regularly updated guide to the best camera lenses  – specifically for travel photography purposes. After all, a camera is not much good without a lens!

Of course, this guide does assume you have a camera with interchangeable lenses, so that means a mirrorless camera or a DSLR camera . Within those two groups though there are myriad camera and lens manufacturers. And for the most part, lenses made for one camera system won’t work on another system.

So for this post, I’ve first put together a general overview of what to look for when picking a travel lens, which will give you some pointers in terms of features to consider. That way no matter what brand and kind of system, you’ll know what to look for when shopping for a camera lens.

I’ve then provided specific recommendations for the more popular camera systems out there, including Canon, Nikon, Panasonic, and Sony. Even if your particular manufacturer or camera mount isn’t mentioned, you should be able to get a good idea from this post of what to look for in a travel lens, which specifications matter, and an idea of price.

Speaking of price, as well as a guide to the best lens for travel photography for each camera brand, I’ve also suggested a couple of options for the best budget travel lens for each camera system. I know that lenses are expensive, and not everyone has a huge budget to spend! Let’s get started.

What to think about when picking a lens for travel photography

Picking a lens to travel with is a bit different to picking a lens for other situations. Not only will you be concerned with image quality, but also size and weight.

Whilst it would be wonderful to have a wide range of expensive lenses to take with us on all our trips, the reality of travel is that there is only so much we can take with us, and when you’re out and about all day sightseeing, you probably don’t want to be carrying too much.

So for travel photography, it’s better to try and focus on getting a smaller number of lenses that work well in a wide variety of situations. That way you are likely to actually take them with you and use them.

Of course, there are always going to be compromises – it’s hard to find a lens that does everything well, doesn’t cost too much, and is lightweight! But for travel photography, I think there are some good travel lens options out there.

You have a few options for lens types. My suggestion would be to invest in two lenses – a walkaround lens and a fast prime. An f/1.8 50mm would be the ideal.

Some manufacturers sell a travel kit, like this bundle from Canon , which can be a great value way to get some good lenses.

If you only want to invest in one lens because you don’t see yourself changing lens often, or carrying more than one lens, then you will want a good walkaround lens, and that’s what this guide will be focusing on.

What is a walkaround lens you ask? Well, it’s a lens that “does everything”. It covers a good range of focal lengths, meaning you can get wide angle shots as well as zoom in on further away objects. It’s basically a one size fits all lens for your travel photography needs.

You will often find that if you invest in a camera that it will come with a lens that will suffice as a walkaround lens. These will work fine but tend not to be the top quality lenses.

If you are more serious about photography and your budget allows, I’d recommend that you buy your preferred camera “body only”, and then invest in a nicer walkaround lens, such as the ones I recommend, rather than the standard kit lenses. Don’t be surprised if the lens is more expensive than the camera either – good lenses are expensive, and a worthy investment.

Price considerations – how much to spend on a camera lens for travel photography.

Speaking of money, I’ve done my best to provide a range of lenses across various price points. More expensive lenses tend to be more capable, but can also be heavier, so aren’t always the best solution for travel photography.

For the budget-conscious reading this, I’m also providing my suggested best budget travel lens for each category. I appreciate that not everyone has a big budget for a new lens, so I want to provide some good value options too.

If none of the lenses in this post fit your budget, my advice would be to either stick with the kit lens that comes with your camera, or to check out the second hand lens market on either Amazon on eBay . For more on buying second hand camera equipment, see my guide to buying used camera equipment .

Now, before we dive into individual travel lens recommendations, let’s take a look at some of the key terminology and other considerations you need to be aware of when looking for a lens for travel photography.

Inside a lens, there’s a hole that lets the light through to the camera’s sensor. This hole is referred to as an aperture. An aperture can change in size, with a bigger aperture letting more light in, and a smaller aperture letting less light in.

An aperture can be thought of as the pupil of your eye. When it’s bright outside, it is smaller so less light gets in. When you’re in a darker environment, perhaps at night, it opens really wide to let more light in.

The important number for lens apertures is how big the hole goes, which will dictate how well the lens will perform in low light situations. A wider aperture also allows for greater control over depth of field. See my guide to depth of field for more on that.

When you look at the specifications for a lens, it will always have the widest aperture listed as one of the key specifications. It will be a number, something like 2.8, 4.0 or 5.6. It may also be written as f/2.8, which is the formal way of denoting aperture. The smaller the number, the wider the hole.

Some lenses, and in particular the walkaround lenses we are going to be looking at, will have what is known as a variable maximum aperture. This means that the aperture will actually change as you zoom in and out, or change focal length. This is because as the lens barrel gets longer, the maximum aperture get smaller.

So for example, you might see a lens with an aperture of f3.5-5.6. This means that at the wide angle, the aperture is f/3.5, but when you zoom in, the aperture will drop, down to f/5.6 when you are fully zoomed in.

For travel photography, as with most photography, the wider the aperture the better – more light getting in means better low-light performance, making the lens more versatile for a range of photography situations. This is particularly useful for situations like taking photos of the stars , or shooting the northern lights .

The trade-off is that wider aperture lenses tend to be bigger, heavier, and more expensive. This will be considered in the lens selection.

Focal Length

The focal length of a lens is directly related to how much magnification it provides. It’s a number that’s measured in millimetres (mm), with the general rule being that the higher the number in millimetres, the more magnification you get, and the smaller the number in mm, the less magnification you get.

If you’ve previously used a compact camera (aka point-and-shoot), you’ll be used to this being described in terms of optical zoom – for example, a camera might have 10x optical zoom. That means that the difference in magnification between the most zoomed out setting and the most zoomed in setting is 10x.

In focal length terms, each doubling of the focal length results in a doubling of the magnification. So a 100mm lens will essentially make everything twice as big as a 50mm lens.

Unfortunately, matters get a bit confusing after this, because focal lengths have a different effect on different cameras. This is because camera’s have different sensor sizes, which affects the focal length, in what is known as a crop factor.

To take the example of the Canon DSLR camera systems. There are two main types of cameras available, the APS-C size cameras such as the consumer Rebel line, and the full frame size sensors in more professional cameras like the Canon 6D or 5D line.

Some of Canon’s lenses will work on both of these camera systems, but they will give different focal lengths. On the full frame cameras, the focal length will be as expected. On the APS-C sensor, there is a “crop factor” of 1.6, because the sensor is smaller. So a 100mm lens on an APS-C sized sensor will give the same result in terms of the image as you would be able to achieve with a 160mm lens on a full frame camera.

Thankfully, lens manufacturers all use the same focal length standard, so when buying lenses for your particular system, all you need to know is the crop factor. You can then multiply this by the focal length to get the equivalent focal length.

Don’t worry if this isn’t quite clear, for the lenses I recommend I will list both the focal length and the equivalent focal length where relevant. Equivalent focal length is what you need to really worry about, as it will let you compare lenses more effectively.

For travel photography, you want a lens that goes from fairly wide (16mm – 30mm) on the wide end, through to fairly zoomed in (70mm – 150mm) on the narrow end. This will give you good flexibility, letting you shoot wide scenes such as buildings on city streets, through to zooming in on the details. A good benchmark lens is a 24-70 f/2.8, which is generally known as the walkaround lens of choice for professional photographers.

There are some walkaround lenses which offer much greater focal lengths, well past 200mm, including some of the recommendations in this guide. Just be aware that there are always trade-offs to consider, and whilst these can offer tremendous versatility, it’s often at the expense of weight and image quality, and in particular, image sharpness, at the longer end of zoom range (beyond 200mm usually).

I’m not saying not to invest in these lenses, just to be aware that there’s no such thing as a perfect lens for all situations!

Filter Thread

When you buy a lens, it’s always a good idea to pick up a UV filter  to protect the front. You may also want a polarising filter  (read about polarising filters here ), or a neutral density filter  (see my guide to neutral density filters here ).

You’ll notice that these filters come in different sizes, and the filter thread size on the lens, measured in millimetres, tells you what that size is. It’s basically just a measurement of the diameter of the lens, which is the end you put the filter on. Ok, that was an easy one.

Image Stabilisation

Camera lens manufactures have all kinds of fun terms they use for image stabilisation. These include IS (Canon), OIS (Panasonic), VR (Nikon), OS (Sigma), VC (Tamron) – the list goes on .

Whilst the names and underlying technology vary, the aim is the same – to compensate for any movement introduced by the person holding the lens (that’s you), to help you shoot at lower shutter speeds without getting blurry photos.

As a general rule of thumb, the minimum shutter speed you can hand hold a lens for is the inverse of the focal length. So if you have a 200mm lens, you would not want to shoot at shutter speeds slower than 1/200th of a second. A 50mm lens would be 1/50th of a second.

Image stabilisation technologies exist to help you get shots at lower shutter speeds than that, and they are usually rated in terms of how many extra “stops” they give you to play with. A “stop” is photography dialog for a halving, or doubling, of the light.

So if you went from 1/100th of a second to 1/50th of a second shutter speed and didn’t change anything else, that would be 1 stop.

Modern image stabilisation technologies offer between 3 and 5 stops of stabilisation. To put that in practical terms, if you are shooting with a 200mm lens at 1/200th of a second, 3 stops would let you hand hold down to 1/25th of a second. 5 stops would let you hand hold and still get sharp images as slow as 1/6th of a second!

As you can see, image stabilisation can make a huge difference, and it is definitely worth thinking about when looking for a lens. Of course, as with everything, there are tradeoffs, and an image stabilized lens will often be more expensive and slightly heavier than an equivalent non-stabilized version.

Weight is a pretty key consideration when it comes to picking a travel lens, as the idea is that you’re going to be using the lens for travelling. I don’t know about you, but the less I have to carry the better, especially if I’m going to be on my feet all day. So definitely keep the weight of your purchase in mind.

As well as weight, you’re going to want to factor in the size of the camera lens. Portability can be an important factor for a travel photography lens, particularly if you’re travelling and prefer to pack carry-on only. So consider how big the lens is in physical terms when making a decision.

Mount Compatibility

When you attach a lens to a camera body, obviously it has to fit in place. It’s like a puzzle with two pieces – the lens has to be the right shape to fit into place and lock tightly.

In addition, because the camera needs to communicate with the lens to set things like aperture, focus and zoom, the electronic connections between the lens and the camera body need to line up and be compatible.

The system that is used is known as a lens mount. You basically “mount” the lens onto the camera. Most camera manufacturers have their own lens mount system or systems, so when you buy a lens, you need to make sure it is compatible with the mount type on your camera.

Many manufacturers have multiple lens mounts, depending on the type of camera. For example, Canon cameras can have an EF-S mount, an EF mount, an EF-M mount and an RF mount.

It is very important when buying a lens to ensure that it has a compatible lens mount for your camera. Note that some lenses will work with multiple lens mounts – for example, an EF lens will work on both an EF and an EF-S mount. However, an EF-S lens will only work with an EF-S lens mount, and not with an EF mount.

Usually the mount type is made clear in the name of the lens. For example, the Canon EF 16-35 f/4L IS is an “EF” lens, which you can see in the name of the lens. So this will work with an Canon EF or Canon EF-S camera body.

If you are buying a lens from a third party manufacturer such as Tamron or Sigma, be aware that they usually make multiple versions of each lens, with different mounts. So always make sure you buy the version that will fit your camera.

Well, that sums up some thoughts on the various factors, features and terminology you need to consider when looking to buy a travel lens.

Now, let’s dive into some specific recommendations across various camera systems to give you some idea of what’s available at different price points.

Note that these are primarily walkaround lenses that are suited for travel, rather than for a specific function like macro photography or astrophotography. If you are interested in the latter, see our guide to northern lights photography , which has some specific lens recommendations for night situations.

The Best Micro Four Thirds Lens for Travel Photography

Micro Four Thirds camera are a popular choice for photographers. These mirrorless systems are lightweight and portable, yet offer everything you would expect from a bigger SLR style camera, including full manual controls and great image quality.

There are a number of manufacturers, with the most popular being Panasonic and Olympus. We use and love our Panasonic GX8 which is a staple part of our travel photography gear .

Both of these manufacturers have their own proprietary lens stabilisation system that takes advantages of stabilisation technology in both the camera body and the lens. This means that whilst lenses will work across different micro four thirds cameras, to take full advantage of the stabilisation technology you need to match brands – so a Panasonic lens needs to go on a Panasonic camera body for the best results.

In terms of crop factors micro four thirds cameras have a 2x crop factor, so you need to double focal lengths to get the equivalent focal length.

1. Panasonic Lumix G Leica 8-18mm F2.8-4.0

With a 16-36mm equivalent focal length, this is the lens to get if you love shooting really wide. Personally, my wide angle lens is the lens I use the most, so this is what I’d go for on this camera system, even if it’s not quite as flexible across shooting situations as something with a greater focal range. It doesn’t have image stabilisation, but as the lens is so light that’s less of an issue, and image stabilisation on a wide-angle isn’t as critical.

Weight: 11.11 oz / 315 g Check price on Amazon here , B&H here and Adorama here 

2. Panasonic Lumix G Leica DG 12-60mm Power O.I.S. F2.8-4.0

As a walkaround travel lens, it’s hard to argue with this 12-60mm lens from Panasonic, which offers a 24-120mm equivalent focal length and sharp results throughout that focal length, even shooting wide open. The aperture stops down a bit as you zoom in, but this is a lightweight lens that will do pretty much everything you could want, and includes image stabilization (Power O.I.S).

Weight: 11.29 oz / 320g Check price on Amazon here , B&H here and Adorama here

3.  Olympus M.Zuiko Digital ED 7-14mm f/2.8

My choices for the Olympus micro four thirds system are essentially their versions of the Panasonic lenses above. This is the wide angle, with a focal length equivalent of 12mm – 28mm.

With a fixed f/2.8 aperture this is a very fast lens at all focal lengths, although this does make it a little bit heavier.

It also comes with dust and weather sealing. It doesn’t have lens based image stabilisation, but the majority of Olympus MFT cameras have in-body stabilisation which makes up for this.  

Weight: 1.17lb / 543g Check price on Amazon here , B&H here and Adorama here

4. Olympus M.ZUIKO Digital ED 12-100 F4.0 IS PRO

With a focal length equivalent to 24-200, this is pretty much the perfect walk around length for travel photographers. It is water and dustproof, and features image stabilisation equivalent to an incredible 6.5 stops when used with a compatible Olympus camera.

That added focal length does add some weight and bulk though. If you’d prefer a lighter lens and a faster aperture at the expense of focal length, check out the cheaper  Olympus M.ZUIKO Digital ED 12-40 F2.8  instead.

Weight: 1.23lb / 561g Check price on Amazon here , B&H here and Adorama here

Best Budget Micro Four Thirds Lens

1. panasonic lumix g vario 12-60mm f/3.5-5.6 power o.i.s.

This is essentially a slower version of the Panasonic 12-60mm lens above, at half the price. It’s also significantly lighter than that lens. Impressively for a lens at this price point, it comes with image stabilisation as well as a splash and dust-proof body, making it ideal as a travel lens.

At a similar price point there’s also the slightly heavier  14-140mm f/3.5-5.6 lens from Panasonic, but whilst you gain a lot in focal length, you lose out on that weather resistance, so it’s up to you.

Weight : 7.41oz / 210g Check price on Amazon here , B&H here and Adorama here

2. Olympus M.Zuiko ED 14-150mm f/4-5.6 II

Weight: 10 oz / 284g Check price on Amazon here , B&H here and Adorama here

The Best Mirrorless Lens for Travel Photography for Sony Cameras

For the purposes of this guide, I’m going to be talking about Sony’s E-mount lenses, which work on their mirrorless camera systems including APS-C models like the a6600 as well as full frame mirrorless models like the a7 range.

Note that there are two types of E mount lenses, “FE” lenses, which will work on both full frame and APS-C sized Sony cameras, and non FE lenses which are designed for APS-C sizes sensors only. While you can use a non-FE lens on a full frame camera, it will reduce the image resolution and field of view to be equivalent to an APS-C sized sensor, so I’d advise against that.

There are also “G” series lenses, which are Sony’s more professional lenses – similar to Canon’s “L” series. These offer greater image quality and performance, usually with a higher price tag to match.

Some Sony cameras offer in-body image stabilisation, but ideally you’ll want it in the lens. Sony’s image stabilization technology is known as OSS (optical steady shot).

1. Sony 18-105mm f/4 OSS G

With an equivalent focal length of 27mm – 158mm, and a fixed aperture throughout that focal length, this lens is ideal for travel photography. It’s also a G series lens, which means it is higher quality lens compared to their standard, non G lenses. It’s primarily designed for Sony’s APC-C sensor cameras, so not really recommended for their full frame bodies, but it is very well priced.

Weight: 15.06oz / 427g Check price on Amazon here , B&H here and Adorama here

2. Sony E 18-135 f/3.5-5.6 OSS

With an E mount lens for APS-C camera compatibility, this lens is firmly aimed at travel photographers wanting a great Sony walkaround lens at a price that won’t destroy the bank. With image stabilization and good performance across a good focal length, this lens is a great bargain if you’re looking for an easy upgrade from the kit lens.

3. Sony FE 24-70mm f/4 OSS

Covering the classic focal length of 24-70 on a full-frame camera (36-105mm on an APS-C), this is a relatively fast lens that offers excellent image quality and portability at a relatively affordable price point. There’s also an f/2.8 “G” version of this lens which is approximately twice as expensive and also heavier, but may be worth it if you need that extra stop of light.

Weight: 15.03oz / 426g Check price on Amazon here , B&H here and Adorama here

4. Sony FE 24-240mm f/3.5 – 6.3 OSS

Covering a truly staggering focal range of 24-240mm (36-360mm APS-C), this Sony FE lens is perhaps the ultimate walkaround lens for the Sony system. It may have a variable aperture, but given how well Sony’s cameras perform even at high ISO ratings, you probably won’t notice that too much.

If you want a lens that can shoot everything from far away wildlife to portraits to landscapes, this is a great choice at an excellent price point. Just be aware that it is heavier than the other options due to that extended focal length.

Weight: 1.72 lb / 780g Check price on Amazon here , B&H here and A dorama here

5. Sony FE 16-35 f/4 OSS

If you’re after something wider, then this is the lens to go for, especially for full frame cameras (APS-C owners should instead consider the cheaper 10-18mm f/4 for wide angle work).

With a relatively fast fixed aperture, super-wide capabilities and even image stabilisation, this is the lens for landscape and architecture photographers to look at.

Weight: 1.14lb / 518g Check price on Amazon here , B&H here and Adorama here  

6. Sony 18-200 f/3.5-6.3 OSS

If you’re on Sony’s APS-C sensor system, then you might want to consider this lens instead of the 24-240mm lens above, as it offers a wider 27mm equivalent at the wide end. It’s also a relatively light lens given the focal range, making it a good choice for travel photographers trying to keep the weight down.

Weight: 1.16lb / 524g Check price on Amazon here , B&H here and Adorama here

Best Budget Mirrorless Lens for Sony

1. sony fe 28-70mm f3.5-5.6 oss lens.

Being an FE lens, this will work on both full frame and APS-C sized Sony bodies – on the latter it would offer an equivalent focal length of 38 – 105mm, which is useful for many situations except particularly wide work. A good value lens.

Weight: 10.41 oz / 295 g Check price on Amazon here , B&H here and Adorama here

2. Sony 55-210mm f4.5-6.3 OSS

If you’re looking for a bit more range, perhaps to compliment the kit lens that came with your Sony camera, this is one of the better priced telephoto zoom lenses from Sony that is also incredibly light for the focal range on offer.

Of course, it’s not the sharpest lens in the world, especially at the 200mm end (315mm equivalent), but it does feature image stabilisation and is a bargain to boot.

Weight: 12.16 oz / 345g Check price on Amazon here , B&H here and Adorama here

The Best DSLR Lens for Travel Photography for Nikon Cameras

For the longest time, the two main choices for photographers looking for camera gear were Nikon and Canon. That has certainly changed, but these two manufacturers definitely account for the highest percentage of cameras sold today.

Because they’ve both been around for so long there are literally hundreds of lenses to choose from for each system, both made by the manufacturers themselves, and lenses made by third parties.

Sifting through these choices to find the perfect travel lens is definitely a challenge, but I’ve narrowed down the various options to some of the best options to help you make an informed decision.

1. Nikon 28-300mm f/3.5-5.6G VR

An ideal walkaround lens at a good price point for Nikon full-frame users (known as FX in Nikon speak). This lens covers a very wide focal range with a reasonable fast aperture, and offers image stabilisation (Nikon calls it VR, for vibration reduction).

Owners of Nikon’s APS-C sized sensor camera bodies (DX format) should consider either the 18-300mm lens below, or the Tamron 18-400mm f/3.5-6.3 , which will give a bit more flexibility on the wide end.

Weight: 1.76 lb / 800 g Check price on Amazon here , B&H here and Adorama here

2. Nikon 18-300mm f/3.5-6.3G VR II

There’s also an 18-200 version which can be found marginally cheaper, but as it weighs the same I’d go with this one.

Weight: 1.21 lb / 550g Check price on Amazon here , B&H here and Adorama here

3. Nikon 24-70mm f/2.8E VR

Nikon’s 24-70mm f/2.8 lens is one of the most popular lenses for photographers of all types, particularly on full frame bodies. Its fast aperture throughout the focal length makes it great for low light photography and portrait work, and the relatively wide angle makes it a great landscape lens.

It even has image stabilization! It is expensive and heavy (consider the Sigma equivalent too), but if it’s the only lens in your bag you might not mind so much.

Weight: 2.35lb / 1070g Check price on Amazon here , B&H here and Adorama here

4. Nikon DX 16-80mm f/2.4-4E VR

This lens is only for crop sensors, but it offers an excellent range of focal lengths, a fast aperture range and it is known for producing very sharp images. It’s also very light, making it a great option for travel photography, and features image stabilisation at a reasonable price.

Weight : 16.93 oz / 480g Check price on Amazon here , B&H here and Adorama here

Best Budget DSLR Lens for Nikon

1. nikon 18-140mm f/3.5-5.6 vr.

For a DX camera, this is an excellent Nikon lens that covers a wide focal range, has image stabilization, and produces sharp images. It’s very well priced for what you get, is relatively light, and will serve you well as a travel photography walk around lens.

Weight: 1.08lb / 490g Check price on Amazon here , B&H here and Adorama here

2. Nikon 24-85mm f/3.5-4.5G VR

FX format users on a tighter budget should definitely consider this lens, which offers reasonably fast performance and a good range of focal lengths in an affordable and lightweight package that also includes image stabilisation.

Weight:  1.02 lb / 465 g Check price on Amazon here , B&H here and Adorama here

The Best DSLR Lens for Travel Photography for Canon Cameras

Like Nikon, the Canon camera system has been around for a long time, and there’s an incredible selection of lenses to choose from, both directly from Canon, and from third party manufacturers like Sigma and Tamron. This huge amount of choice can be overwhelming, but I’m going to do my best to provide a few options to get you started.

Note that Canon has three main lens mount systems – EF, EF-S, and RF. The first two are for their DSLR cameras, the latter is for their new full frame mirrorless camera system. This is a new mount, launched in 2018. I mention it because there is a Canon adaptor meaning all EF and EF-S lenses will work on RF mount cameras.

EF lenses will fit on all Canon’s cameras (RF with an adaptor), whilst the EF-S lenses will only fit EF-S mount cameras (and RF cameras with the adaptor).

EF-S cameras are essentially all the consumer focused models such as the Rebel series. Canon has its own stabilisation system, which it calls IS (image stabilisation).

1. Canon EF 16-35 f/4L IS

This ultrawide Canon lens is incredibly sharp, and an excellent choice for landscape and architecture lovers. It’s our current go-to lens for these purposes in our travel photography bag.

Whilst the f/4 aperture isn’t too wide, this lens features image stabilisation technology that promises up to four stops of stabilisation, which makes this a great choice for low-light work. It’s also not too heavy. APS-C owners should consider the cheaper and significantly lighter 10-18mm IS instead .

Weight: 1.35 lb / 615 g Check price on Amazon here , B&H here and Adorama here

2. Canon EF 24-70 f/2.8L II

This is the walk around lens of choice for many full frame Canon professionals as it offers sharp performance and a fast fixed f/2.8 aperture across the frame. This lens is great for everything from portraits to landscapes, and is one of the most popular lenses amongst Canon shooters.

This lens is quite pricey and fairly heavy though, so do also consider the Sigma equivalent which is significantly cheaper and includes image stabilisation, which is notably absent from this Canon lens.

Weight : 1.77 lb / 805 g Check price on Amazon here , B&H here and Adorama here

3. Canon EF 24-105 f/4 L IS II

If the Canon 24-70 above is a bit pricey, or you’d prefer image stabilization and a slightly longer focal length, then the excellent EF 24-105 f/4 L is a great choice. Despite the longer focal length, it’s actually a slightly lighter option.

This lens will work with both full frame and crop sensor cameras, on the latter it will have an equivalent focal length of 38 –  168mm.

Weight: 1.75 lb / 795g Check price on Amazon here , B&H here and Adorama here

4. Tamron 28-300mm f/3.5-6.3 Di VC

There are lots of third party options for Canon, with Tamron being a popular choice for value oriented buyers. This Tamron covers an excellent focal range in a relatively lightweight, low-cost design.

This 28-300mm is a great walkaround lens choice covering a wide focal range, especially for full frame shooters who don’t want the weight or cost of Canon’s L series lenses.

Weight: 1.19 lb / 540 g Check price on Amazon here , B&H here and Adorama here  

5.  Tamron 18-400mm f/3.5-6.3 VC

Owners of APS-C Canon cameras should definitely consider this incredible Tamron lens, which offers a mind blowing focal length (29 – 640mm equivalent) on Canon’s crop sensor cameras. It also has image stabilisation and an aperture range which is not too bad considering that incredible zoom. It’s also very well priced, and less heavy than you might expect for the focal length.

If you’d prefer a first party lens walkaround lens for your Canon APS-C camera, another option is the Canon EF-S 18-200 f/3.5-6.3 IS , which is a tiny bit lighter, but loses a lot of that lovely focal length, and is also slightly more expensive.

Weight: 1.56 lb / 710 g Check price on Amazon here , B&H here and Adorama here

Best Budget DSLR Lens for Canon Cameras

1. sigma 18-300 f/3.5-6.3 dc os.

If you’re looking for a lens that covers a very wide focal range, produces sharp images, and won’t break the bank, look no further than this excellent Sigma. This will only work on Canon’s APS-C range such as the Canon Rebel line, or Canon SL2, but it offers excellent performance, image stabilization and an incredible focal range (29mm – 480mm equivalent) in a well priced and lightweight package.

Weight: 1.28 lb / 584 g Check price on Amazon here , B&H here and Adorama here  

2. Tokina 11-20mm f/2.8 PRO DX

Lovers of wide-angle photography should shortlist this Tokina lens for Canon’s EF-S camera mount. With a very wide f/2.8 aperture, and a superwide focal length, this lens is perfect for landscape photography, low-light photography, and even taking pictures of the stars . Well priced too!

Weight: 1.23 lb / 560 g Check price on Amazon here , B&H here and Adorama here

The Best Mirrorless Lens for Travel Photography for Canon Cameras

Canon also makes mirrorless cameras, which come in two mount types, EF-M and RF.

The EF-M mount launched in 2012, and is for Canon’s EOS M range of cameras. These mirrorless cameras feature an APS-C sized sensor, and are primarily aimed at consumers and prosumers.

The RF mount launched in 2018, and is Canon’s newest mount. This features on Canon’s full frame and APS-C mirrorless cameras, including the R5, R6, R7 and R10.

It’s worth noting that Canon produces an RF mount adaptor and an EF-M mount adaptor for both EF and EF-S lenses. This means you can use EF and EF-S lenses on the Canon EF-M mount cameras, as well as Canon RF mount cameras.

So if you have an EF-M or RF mount camera, you might still prefer to buy one of the previously mentioned EF lenses, as these have the widest compatibility, and will work across all Canon’s cameras.

That said, an EF-M lens will be smaller and lighter, whilst the RF lenses take full advantage of the wider size of the mount, meaning these lenses can offer wider apertures. RF and RF-S lenses also have additional control rings on the lens itself, which can make for fast on the fly settings adjustments.

Whilst there aren’t currently as many EF-M, RF or RF-S lenses on the market as there are EF and EF-S lenses, there are still plenty to choose from. Here are some options that should work well for travel photography, across a range of budgets.

1. Tamron 18-200 f/3.5-6.3 Di III VC

Given the focal range, the lens is relatively lightweight, and you get good performance for a reasonable price. Definitely one to consider if you’re looking for a native EF-M mount lens.

Weight:   1.55lb /  459g Check price on Amazon here , B&H here and Adorama here

2. Canon EF-M 15-45mm f/3.5-6.3 IS STM

Weight:   4.6oz / 130 g Check price on Amazon here , B&H here and Adorama here

3. Canon RF 24-240mm f/4-6.3 IS USM

Moving onto the RF lenses for Canon’s full frame mirrorless cameras, and the first in our list is this versatile 24-240mm option. This offers an excellent focal range for travel photography, making this a good choice as a walkaround lens. You get a fairly fast f/4 aperture at the wide end, although this does drop off to f/6.3 as you zoom in.

You also get Canon’s image stabilization and fast, silent autofocus system. It’s also relatively light and compact for a full frame lens with this range, and the price is good for what you get.

Weight:   1.65lb /  750g Check price on Amazon here , B&H here and Adorama here

4. Canon RF 24-105mm f/4L IS USM

Naturally Canon also has a range of their premium “L” lenses available for the RF mount. The 24-105 f/4 is an excellent RF mount lens for travel photography, offering a useful focal range as well as a fixed f/4 aperture throughout the whole focal length.

You also get image stabilization, fast and silent autofocusing, in a relatively compact and lightweight lens.

Weight:   1.54lb /  700g Check price on Amazon here , B&H here and Adorama here

5. Canon RF 15-35mm f/2.8L IS USM

If, like me, you love wide angle photography, then you are definitely going to want to check out Canon’s awesome 15-35mm wide angle lens for the RF mount. The RF mount has allowed Canon to go all the way to 15mm with their wide angle zoom, and you get a fast f/2.8 aperture through the focal length as well.

You also get image stabilization and fast and silent autofocusing. It’s not cheap by any stretch of the imagination, but performance is superb.

This lens is the part of what photographers refer to as the “holy trinity” of lenses that professional photographers aim to have in their kitbag. They are all expensive, but image quality and performance can’t be beaten. If you are looking for the rest of the “holy trinity” of RF lenses, Canon also has the Canon RF 24-70mm F2.8 L IS USM and the Canon RF 70-200mm F2.8 L IS USM available for purchase.

Weight:   1.85lb /  840g Check price on Amazon here , B&H here and Adorama here

6. Canon RF-S 18-150mm f/3.5-6.3 IS STM

In 2022, Canon launched the first of their mirrorless APS-C sensor cameras with an R mount, the EOS R7 and the EOS R10. These cameras actually come with an RF mount, meaning they are compatible with RF lenses and EF & ES-S lenses. For RF and EF lenses, you do get a 1.6x crop factor.

Canon has also launched RF-S lenses. Despite the name, the RF-S mount is the same as the RF mount, the only difference is that these lenses are designed for the new cameras, meaning they are smaller and lighter as they don’t need to produce such a large image.

The lens we recommend you consider as a walk around lens is the RF-S 18-150mm. On a R7 or R10, this has an equivalent focal length of 28.8-240mm, which is ideal for most travel photography situations.

You also get built-in image stabilization, and the maximum aperture of f/3.5 is very good. It’s also remarkably light.

Weight:   10.9oz / 310g Check price on  B&H here and Adorama here

Further Reading

Well, that sums up my guide to the best travel lenses for travel photography! I hope you found it informative and useful in your quest to find the perfect travel lens for you. Before you head off, I want to share with you a few more resources that will help you on your photography journey.

• My guide to picking the best travel camera – after all, a lens isn’t much good without a great camera to pair it with! We also have guides to the best point and shoot cameras , the best mirrorless cameras , the best cameras for hiking and backpacking , the best action cameras , and the best DSLR cameras for travel photography .
• Photos need editing to get the best out of them. See our guide to the best photo editing software for our suggestions. If you’re looking for something to edit your photos on, see our guide to the best laptops for photo editing
• If you’re looking for something for someone else, see our guide to the best gifts for photographers for ideas
• My series of  Photography Tips , which I am always expanding and updating with posts like this one
• My always expanding series of  Photography Location Guides , to help you get the best shot in locations around the world.
• An overview of my  Travel Photography Gear , in case you wondered what a professional photographer has in his bag
• A  Beginners’ Guide to Improving your Travel Photos for those starting out in travel photography. We also have a guide to how to use a DSLR to help you if you are starting out with this type of camera system.
• Our reasons why you need a travel tripod

Looking to Improve Your Photography?

If you found this post helpful, and you want to improve your photography overall, you might want to check out my  online travel photography course .

Since launching the course in 2016, I’ve already helped over 2,000 students learn how to take better photos. The course covers pretty much everything you need to know, from the basics of how a camera works, through to composition, light, and photo editing.

It also covers more advanced topics, including astrophotography, long exposure photography, flash photography, and HDR photography.

You get feedback from me as you progress, access to webinars, interviews and videos, as well as exclusive membership of a Facebook group where you can get feedback on your work and take part in regular challenges.

It’s available for an amazing one-off price for lifetime access, and I think you should check it out. Which you can do by  clicking here .

And that’s it for my guide to picking the best camera lens for travel photography. I’ll be keeping this post updated as new lenses are released for the various systems, so you can always check back for advice if you need it. I’m also happy to answer your specific questions about picking a lens for your camera system – just pop them in the comments below and I’ll do my best to give my thoughts and advice!

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There are 71 comments on this post

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Vladielna says

4th October 2023 at 6:31 am

Hi Laurence,

Hope it’s not weird to get a comment on this post in 2023. I have a sony Alpha 6400 that I got earlier this year and I was wondering about the 55-210 e-mount lens you mentioned. My dad bought it for his 5N back in the day and I was hoping to use it for my camera however I have noticed that the AF is much worse on the 6400 than it is on the 5N where it will take multiple times to try and find the right focal length over the span of 3 seconds and yet still not be in focus I am not sure why that is and I was hoping you could provide some insight into this behaviour.

Thanks, Vladielena

Laurence Norah says

4th October 2023 at 8:10 am

Hi Vladielna

Of course, you are welcome to comment. I do keep our content up to date, so even if a post was originally published a while ago I do my best to keep to relevant 🙂

On to your question. So the 6400 should have a pretty good focus system, but it’s hard to diagnose the issue without knowing the focus mode in use and what scenario you are taking photos of. Some focus situations are more challenging for a camera to work in, such as lower light scenes or scenes where there isn’t much to focus on (like a plain surface). If you could let me know what you are struggling to photograph and focus mode you are using I can do my best to offer some input!

20th August 2022 at 11:50 pm

I’ve been looking to get into photography for a bit. Pretty settled on getting the 6D Mark II. Any recommendations for lens? I do a good bit of hiking, some traveling through the city and museums, some international travel, and a good bit of stuff outside. Any help is appreciated!

22nd August 2022 at 5:59 pm

Sure thing. So a lot will obviously depend on your budget. A good walk around lens with the 6D might be the Canon 24-105 f/4 L, which covers a useful focal range. If you want more range and are on more of a budget, Tamron’s 28-300 is a good option, although it isn’t quite as wide. Personally I prefer a wide angle lens, but it’s a personal preference. You can always shoot more frames and stitch them together of course.

If you wanted to give me an idea of budget, I’m happy to give some more ideas. Just one thing to bear in mind is that there’s always some sort of trade off when it comes to gear, be it maximum aperture, weight, cost or reach. No-one has come up with the perfect lens that does everything yet!

26th August 2022 at 11:28 pm

Hi Laurence! Thanks for the response! I think the 24-105 is purchasable with the body. For budget I’d probably like to stay under 2k for lens as I’m just getting my feet wet. I’ve seen a canon 50mm f/1.8 stm recommended, any thoughts on thus lens ?

27th August 2022 at 12:35 pm

My pleasure! Yes, the 6D Mark II does usually have the option for the 24-105 as a “kit” lens, but it’s definitely more than your standard kit lens and worth adding on in my opinion.

The 50mm f/1.8, or nifty fifty as it’s often referred to, is a fantastic lens, especially for the price. I recommend everyone has one. It’s not necessarily a “travel” lens because most folks looking for a travel lens want something that covers a range of focal lengths. However, I always suggest people pick one up because it’s a great option for portrait work and anything else where you want a nice shallow depth of field. It can also work as a travel lens, you just have to get used to moving yourself around rather than using the zoom, which is actually not a bad thing.

Let me know if you have any other questions, and enjoy your new gear!

Arijit says

19th July 2020 at 3:46 pm

Great article! Hope you would be able to help me take my decision.

I own a Nikon D5200 (DX) and looking for a single lens which covers all or most aspects of photography (wide angle, portrait, zoom, etc). I had filtered down to 3 lenses- Nikon 18-300 mm (best for Nikon cameras as per your article), Sigma 18-300mm with Macro, Tamron 16-300 with Macro. I had Tamron 18-400 mm in my mind as well but then I thought that additional 100mm is not something I would fancy, as 300mm is still good enough for me and with the Sigma 300mm lens I am getting macro function.

All these 3 lenses are in same price range. But what I researched and understood was that Sigma lenses have best image quality of the three. Undoubtedly, Nikkor has the best overall optics but with Sigma I am also getting a macro feature which I feel I might use more than the 300mm though it is still good to have range.

I also heard that with Sigma 18-300, we might experience stabilization issues at higher mm for video. My requirement is to have the best of image and video quality with a single lens.

Would be grateful if you could share some thoughts on what should I consider.

Thanks in advance!

19th July 2020 at 8:18 pm

Thanks very much! So the lenses you list have some differences. Between the Tamron and the Sigma the Sigma as you say should have the best image quality, specifically sharpness, which is definitely important. Overall though the Nikon is generally better. I would also say that the Macro designation of the Tamron and Sigma is a bit misleading. Whilst they have a slightly closer minimum focus distance than the Nikon, neither are true macro lenses. A true macro lens would allow you to shoot an image with 1:1 magnification, meaning that the size of the image in real life is the same size as it’s reproduced on the sensor. The Tamron and Sigma both only offer a 1:3 magnification.

The reason these two lenses have the macro name is because they can both focus on objects that are within 39cm of the camera, whilst the Nikon has a minimum focus distance of 49cm. Honestly, this is not a big difference, and you will not get a real macro experience from any of these lenses, certainly not enough to make a difference. Usually a macro lens can focus on objects that are 30cm or less from the end of the camera.

So for this reason I would probably recommend the Nikon for overall best performance 🙂

I hope this helps!

Debasis Goswami says

27th February 2020 at 3:44 pm

You never want to put a UV filter for a digital camera. Useless and makes any lens perform poorly. That was such a put off right at the beginning.

27th February 2020 at 3:50 pm

Hi Debasis,

I have to respectfully disagree. A UV filter has protected my lens from damage on a number of occasions, where the filter has been destroyed but the lens is fine. In addition, a good quality UV filter is just a piece of glass, as is the rest of the lens. Studies have shown minimal to no impact in image quality, and it’s generally not noticeable either unless you’re pixel peeping.

In addition, the majority of “weather-sealed” lenses are only truly weather sealed with a filter on.

Of course, I don’t advocate putting a $10 filter on a thousand dollar+ lens. But I do think they are worth it. That said, each to their own. Whatever works for you is best 🙂

Thanks for your comment,

10th November 2019 at 1:14 am

I own a Canon 80D with 10-18 lens, 15-85 Aps-cl ens (probably selling),55-250 (never used probably selling) and Tamron 18-400. I just purchased 24-70 f/4L lens and am thinking of purchasing Canon 6D mark II. I use the 80D for everything and I am thinking the full frame 6DMII will help me get nice crisp pictures in low light and other shots. Do you think this is a good idea to have the crop and get a FF camera? I am not a beginner and not advanced photographer in between the two and still learning

10th November 2019 at 12:05 pm

The 6D Mark 2 is a great camera and will compliment your crop sensor nicely. I always have two bodies, although they are both full frame, it just makes it easier to get shots sometimes without having to mess around switching lenses.

6th September 2019 at 2:31 pm

Hello Laurence, We enjoyed your very well written article. We are getting ready to leave on safari and are looking at purchasing a mirrorless camera. We are very intermediate photographers. We currently use a Canon EOS 7D. We were contemplating staying with Canon due to familiarity. However, your article, as well as others, is pointing toward Sony. What is your recommendation? Lenses, etc? The Sony A7III sounds like the best set up (battery life, etc). What about ease of use? Also, I suppose a need a 200mm or longer telephoto lens, correct. I’m not sure I wanted to invest $5,000 in a camera as we are far from avid photographers. We are traveling more though and expect to get more into photography as we travel. Looking forward to your feedback. Thank you!

6th September 2019 at 3:37 pm

Thanks very much. I would say that if you are happy with the Canon 7D, you should stick with it and spend the money on a lens. A crop sensor camera is a good option for wildlife photography as it gets you closer to the action with the same focal length lens compared to a full frame camera. I would also add that if you are used to the Canon menu system, the Sony will take some getting used to, and many Canon photographers are not keen on the color of the images that Sony cameras produce.

I would instead suggest that you invest in a decent lens for wildlife photography for your Canon, or at least look to rent one. I’d advise something like the Canon 70-200 f/2.8 + a 2x doubler (quite a flexible setup), or the Sigma 150-500. The latter is a bit slower, but the zoom range is pretty amazing!

I hope this helps, let me know if I can help further,

EllenH says

4th September 2019 at 2:19 pm

I have one more question…if I rent a lens or two for my vacation to try out… which ones you choose to shoot Athens Greece and Paros Greece… I have only been in photography 6 months and have a canon EOS rebel T7i

EllenM says

4th September 2019 at 12:17 pm

I have a Canon Rebel T7i… on my next travel we are going to Greece… I will be taking pictures of sunsets, archeology sites, views of the acropolis, Parthenon, mount lycabetta; views of boats and white houses… what is your suggested lens? Sigma 18-300 or the canon 50?

4th September 2019 at 7:06 pm

I would definitely go for the 18-300 which would give you a lot more range and choices for your photography. The 50mm is a great lens, but having a fixed focal length will definitely restrict you!

4th September 2019 at 8:15 pm

I am considering renting… should I stay with this option?

5th September 2019 at 8:08 am

It’s up to you! Are you renting because you want to trial a lens for a future purchase, or just as a one-off? I’d say the Sigma lens you previously mentioned would be a good option in general, but you could rent a more premium lens. I don’t think it would make a huge difference – normally I’d recommend renting for more specialised trips like safaris or other wildlife encounters, where a really nice expensive zoom lens will make a huge difference – but it’s not a lens you’d really use very often otherwise.

I hope this helps 🙂

4th September 2019 at 1:36 am

Hello from Puerto Rico!

I currently own a Canon 6D Mark II eith a 24-105 mm f4 II Lens. I also own a Rokinon 14mm f 2.8 AF and a Tamron 35-105 mm f2.8. I have some traveling planned for November to Spain, France, Italy and Portugal. What should I bring in? Do I need a better Zoom lens such as a 70-200 mm ? I currently have a 75-300 mm f3.5-5.6 crop sensor lens from a previous Canon Camera. Can’t wait for your recommendations!

Best Regards!

4th September 2019 at 7:04 pm

it really depends what you want to photography and how much weight you want to carry! If it’s primarily landscapes and street photography, and you only want one lens, then the 24-105 would be my suggestions. If you want wider shots, then the Rokinon would be the best option.

It’s less likely you will need the extra zoom – it can be useful in some specific situations like wildlife and for candid portraiture from a distance, but it’s a lot of additional weight that you probably won’t use that often!

I hope this helps – have a great time in Europe!

4th September 2019 at 8:41 pm

Thanks! ????

30th August 2019 at 12:37 am

I travel with the Canon 24-70 f/4 on a 6D. Compared to both the 24-70 f/2.8 and 24-105, it weighs less, cost less, and has a sort-of macro mode (.7x) for flowers and any strange bugs one meets. The extra 35mm on the long end I hardly ever miss. I either need no more than 70 or go straight to wishing I had 400.

30th August 2019 at 6:07 am

Great to hear that you have found the right lens for you 🙂 It’s certainly an excellent lens, and a great lighter option for sure. You are right, those few mm don’t make that much difference, especially with how many megapixels most cameras give you these days and the power of cropping!

Happy photography!

Usama Zulfiqar says

14th August 2019 at 10:41 am

Great article and fully endorse your views. I am enthusiastic photographer and have Nikon D750 with 24-120mm f/4, 50mm 1.8 and 85mm 1.8 lens+Godox Flash. I am planning for a short trip to my home town with loads of indoors gathering and few outdoors gatherings as well, but wanted to carry only two lens max.due to weight issue.

I had previously used 24-120mm for shooting a wedding and it went very well as my photos were as good /sharp as photos taken by professional photographer. I am quite comfortable with this lens, despite losing bokeh compared to 50mm and 85mm.

I will also take some portraits and shots of toddlers and kids running around. My question, which lens you recommend to pack in my carrying bag?

14th August 2019 at 8:01 pm

Thank you very much 🙂 So I would say that if you are happy with the performance of the 24-120 f/4, then that would be a great option as it’s going to be pretty versatile. For the other lens (I think you wanted two), I’d personally go with the 85mm as it’s going to be better for portraits, and will be easier for candid work as you will be able to get photos of people with them noticing less. The 50mm is a great lens too, but it’s harder to get those candid moments if you have to stand closer.

I hope this helps. If you really only wanted to take 1 lens I’d probably pick the 50mm as you could always crop, and it will be a bit more versatile for more situations.

31st July 2019 at 2:53 pm

Hi.. On my weekend travels i normally use NIkon 18-55 VR. And Nikon 35mm 1.8G for low light situation. I don’t take Nikor 55-300 and Tamron wide angle in my bag for travel. It’s a little inconvenient to swap the lens for telephoto or wide angle in some situation since travelling with family (we have 2 year old kid) and the weight of the bag carrying too many lens..!

I’m thinking to buy a good walk around lens (Nikor or third party) and sell both NIkor 18-55VR and 55-300 (or at least keep my first lens 18-55VR).

Do you have any suggestion on my situation? what should be the walk around lens i should go for?

31st July 2019 at 3:02 pm

Obviously it will depend on your budget. I’d suggest either the 18-300mm in the list above, which would be a good all around option. Alternatively if you want a wider aperture for lower light, then you might consider the 24-70 2.8. However it has much less focal length and is also quite expensive, so I think the 18-300 would be a better walkaround option, and would replace your two other lenses you mention.

18th July 2019 at 4:31 am

Thanks for your great articles Laurence, I have found them very informative and clearly explained, which is most helpful to a beginner photographer trying to learn more about the key features of the camera/lens setup and how they impact picture quality. Please forgive the newbie question, but in describing the lenses, you talk about a lens being faster or slower than another? What does that mean in layman’s terms, ie. how is a lens faster than another ? does it refer to the time the light takes to reach the sensor and hence how quickly you can take multiple shots or something else ?

18th July 2019 at 6:08 am

My pleasure. That is a great question, and I should definitely explain it in the article. However, first I’ll tell you 🙂

So, a fast lens is so called because it will have a wider aperture. A wider aperture lets more light in, which means you can use a faster shutter speed, compared to a lens with a smaller aperture (in the same light conditions). Hence, a “fast” lens. The aperture, shutter speed and ISO are all linked in the way a camera works, which I explain in much more detail in my guide to exposure, which you can see here:

https://www.findingtheuniverse.com/exposure-triangle-photography/

Let me know if that doesn’t make sense. It’s not a totally obvious concept I’m afraid, but with a bit of practice it should start to make sense 😉

10th July 2019 at 12:33 pm

Hi Lawrence,

Thank you so much for such nice explanations about different features of camera and lenses. I truly loved the details. I am just wondering in the sentence below, which you wrote

“So a 100mm lens on an APS-C sized sensor will give the same result in terms of the image as you would be able to achieve with a 160mm lens on a full frame camera.”

Shouldn’t it be the other way around? That is a 160 mm lens on APS-C camera will give same result for 100 mm lens on a full frame?

Thanks again, I look forward to your answer.

10th July 2019 at 12:46 pm

Just wondering if what you wrote is correct, does it mean that for a wide angle picture (for a given lens), a full frame sensor is better than APS-C? Whereas, for a magnified/zoomed image an APS-C sensor is better?

12th July 2019 at 4:23 am

For a zoomed image, an APS-C sensor is often preferred as it gives more “zoom” to the lenses, hence why wildlife photographers like crop sensors 🙂

12th July 2019 at 4:22 am

What I wrote was correct 🙂 A 100mm lens on an APS-C sensor has a crop factor applied. You multiply the lens focal length by the crop factor (for most APS-C lenses this is 1.6x), giving an equivalent of 160mm.

Liz Hetherington says

5th May 2019 at 6:01 am

Hi I recently moved from full frame Nikon to Nikon mirrorless and bought the standard z6 kit with 24-70 f4 for less weight while travelling. I did trade in my F 2.8 🙁 . I’m now a bit worried I’m not going to be happy with this new lens in comparison. Your thoughts? Also do you think it’s worth getting the 50mm 1.8 prime? I’m off to Alaska hiking and kayaking. I love taking landscapes, macro and wildlife Liz

5th May 2019 at 9:39 am

To be honest, unless you are doing a great deal of low light work, or shooting events like weddings, I think the lighter nature of the f/4 lens will make up for the loss of one stop of light. For travel, personally as a landscape photographer I rarely find myself shooting wide open, except for the odd portrait or wildlife shot. And the one stop I don’t think is hugely significant for wildlife photography. When I’m shooting wildlife, even though I have a 70-200 f/2.8 lens, I usually have a doubler on it, so it ends up being an f/5.6, and I’ve not had any problems!

For what you are shooting, I’m not sure the 50mm prime will be much use. It’s usually a nice way to get great portraits on the cheap, but I’m not sure you’d find yourself using it all that much 🙂

I hope this helps – I think you’ll be happy with your lens choice!

Image Earth Travel says

28th March 2019 at 1:44 pm

Great write-up and comparisons – lots of food for thought!

I have to mention that I don’t totally agree with your view on the Nikkor 28-300mm f/3.5-5.6G VR lens. I’ve been using this lens on my Nikon D600 since 2013, but travelling full time since 2014. The lens diminishes my D600’s 24.3 MP to only 10P-MP. A testing link you may be interested to check out: https://www.dxomark.com/Lenses/Nikon/AF-S-NIKKOR-28-300mm-f-3.5-5.6-ED-VR-mounted-on-Nikon-D600__834

In addition, the distortion the lens creates when taking architectural images is much higher than my previous cheaper Canon EOS550D+Canon EF-S 55-250mm f/4-5.6 that I used on my 2011, 10-month trip. (Prior to these 2 models, I used a combination of film cameras and lenses.)

Overall, I’m disappointed with my decision to swap from Canon to Nikon – not only much more expensive, but not optimal for travelling as the camera+lens weighs around 3kgs.

I’m yet to discover the best travel camera+lens combination to handle candid and landscapes (including architecture) photography. I like the idea of just having one camera body+one lens – for me, it’s always going to be a zoom lens. So, I understand that the optics of the zoom will never be as good as a fixed lens and always a compromise, but for the money I spent back in 2013 on my Nikon kit I expected better quality. Only as good as the lens right? 😉

28th March 2019 at 3:33 pm

So I am a little confused – this is an FX lens on an FX body, so there should be no reduction in megapixel and it should be able to use the full sensor frame. I don’t understand how it would cause the images to go down to 10MP – that would normally only happen if you used a DX lens on an FX body.

Lens distortions are always going to be an issue for sure, although they can be often fixed in Lightroom or other photo editing software. But yes, the greater the focal range of the lens in my experience, the lower the image quality and the greater the distortion. It’s just a reality unfortunately.

I think you might overall be better off with a different system entirely in weight is more important. Perhaps one of the mirrorless systems. There are many to choose from, especially if you don’t mind stepping down a bit in sensor size. Ultimately though, you are right, good glass is critical to great images – but it tends to come at a price (and weight!).

Saikat Sen says

26th August 2019 at 4:42 am

Disappointed to see that you have not considered the Tamron 16-300 VC f/3.5-6.3, which according to my experience is a great walk around travel lens, weighing just about a pound, cheaper than any other lens you have mentioned here and providing 16mm at the wide end, which roughly equivalent to 24mm at the APS C sensor. Needless to say that it has full-time manual override, which is very useful to those who really like to use it manually with the library to get the auto focus as and when required.

26th August 2019 at 7:25 pm

Thanks for your comment, and I’m delighted you’ve found a lens that works for you. There are lots of great lenses out there! I think the 18-400 Tamron I recommend is a good option, but of course, if folks would prefer something a little lighter and don’t mind trading off a bit of focal length on the zoom end, then the 16-300 is a great option too 🙂

Lucas Peters says

11th February 2019 at 8:08 pm

Thank you for taking the time to put this article together. I’m sure it’s a ton of research. For the next one, really consider the Sony 24-105mm G OSS f/4. I’ve been using it for travel (England, Iceland, France, Spain and Morocco) over the last few months and am super happy. On a full-frame, you can crop to get an equivalent 150mm or so range for a nice little punch-in. Nice colors. Solid sharpness (though a tad softer at 105, but not too bad), an overall better performance than the SonyZeiss 24-70mm with a larger range. Check it out when you can.

12th February 2019 at 5:42 pm

Thanks for the input, that’s much appreciated. I will certainly take a look at that lens and consider including it 😀

12th February 2019 at 9:07 pm

If you liked the Canon L 24-105, you’ll probably like this a lot.

Curious why you are adverse to small primes. I probably do the vast majority of my shooting with the Sony-Zeiss 35mm 2.8 (you can get them 2nd hand pretty consistently for 300-400 now, making it a great budget option). It’s an awesomely light weight walk around kit.

13th February 2019 at 9:11 pm

I’m not adverse to them at all, I think they are awesome bits of kit. However, for this post the goal was picking lenses that the majority of folks would use without having to carry too many lenses, and whilst I love primes for their sharpness and speed, I think the majority of folks reading this guide are looking more for a one size fits all solution 🙂

Alicja Abela says

30th January 2019 at 12:44 am

I am a beginner photographer and am wanting to buy a Canon 80D for a trip to NZ in November. What lense/ lenses would you suggest for getting landscape shots but also wildlife? much appreciate your advice.

30th January 2019 at 7:28 pm

So for landscapes I’d recommend a wide angle lens like the Canon EF-S 10-18mm. That’s a really good value lens, and the ultrawide angle will let you get some great landscapes. The logical lens to pair it with would be the Tamrom 18-400, which would be great for pretty much everything else, including portraits and wildlife. These are not super expensive lenses, which also makes them lighter for travel, but if you wanted to spend more for some reason, I can recommend more expensive lenses too of course!

Have an amazing time in New Zealand 🙂

1st February 2019 at 8:48 am

Thank you for the recommendation. After looking at the pricing of both 80d and lenses I think I will have to look for a cheaper model such as a 200D. Are there a couple of lenses that I could take that would do a good job on landscapes, action and wildlife that would add up to around $1000 Aus doll ars max?

1st February 2019 at 6:43 pm

So you could get away with just the Tamron lens, and not getting the wide angle. It will work for the majority of shots. Or you could get the Sigma 18-300 and the Canon 10-18, which should come in to $1000.

I am assuming the $1000 doesn’t include the camera purchase. If that is included then you will likely be best buying that body only, and then getting the Sigma 18-300.

Alicja says

2nd February 2019 at 12:44 am

Thank you so much. That was so helpful!

12th December 2018 at 12:57 pm

You have the details wrong on the Lumix wide zoom, it is 8-18 not 8-14

12th December 2018 at 1:06 pm

Good catch! Thanks very much, I’ve updated the post 🙂

26th October 2018 at 3:53 pm

Great article..!

I have Nikon D3400 camera with kit lens amd 35mm Nikon prime lens. Normally i use 35mm lens when we go for family trip. Even if it is a good lens i miss many good shots since it is not wide enough. I am thinking about buying a wide angle lens for travel photography (weekend road trip with family 🙂 ). I considered Tamron 10-24mm VC and Nikon 10-20mm VR. What is your suggestion on my situation ? Should i stick with my kit lens for travel or buy any other walk around lens like Nikon 18-300 or Tamron 18-400?

26th October 2018 at 6:10 pm

Thanks! It’s hard to know exactly what to advise as I’m not sure if you are into wildlife photography or any other types of photography where you will be using the extra length of a longer zoom. So whilst the 18-300 or 18-400 or certainly good options, I think if your main issue is currently not being wide enough, and wide angle photography interests you more, then a 10-24 or 10-20 would be a better choice.

Another option is to try the 18-400 or 18-300 and see if it is wide enough for your needs. The difference between 10mm and 18mm is quite a lot, but you might find it suits what you want to do with, plus gives you a lot more flexibility and choice of focal lengths.

16th October 2018 at 8:34 am

Hi, Great article! I am planning to upgrade from 550D to an 80D, and was wondering about the lenses I could pair it up with. I have a canon 50mm f/1.8 STM prime which I love (and so does the rest of the world, it seems!). I ditched my 6 yrs old canon 18-55 IS II for a sigma 18-35 f/1.8. And on the telephoto end, I am aiming for the Tamron 100-400. Have read some good reviews about it, and its probably the lightest and most easy-to carry telephoto of that range (though not the best w.r.t. IQ, but would be a huge improvement over my notoriously soft canon 55-250 IS II). I shoot birds at times, and so need a good telephoto range. I am slightly worried about losing the mid range (50-100), but was analysing my pictures, and realised I don’t shoot very often in that range. Would love to hear your opinion as well.

17th October 2018 at 7:45 pm

So the good news as you no doubt already know is that the 550D and the 80D have the same sized sensor and mount, so all your lenses will just work across the cameras. I would say that you would be fine without the middle focal length. We usually travel with a 17-40 and a 70-200, and we’re usually shooting either very wide at 17mm or 100mm+, so don’t miss that middle range too much! It all depends on the kind of photography you do, and it sounds like you have a solid idea of what it is you want to shoot, as well as the focal ranges you use most regularly. So if that lens suits your budget and needs, I would say to go for it!

julie anne says

3rd October 2018 at 6:00 pm

hello I just want to ask what camera lens is compatible with canon m50? thanks

4th October 2018 at 4:00 am

Hey Julie! Great question. So you have two main options – there’s a range of EF-M lenses made by Canon for the camera, which I haven’t included here as they are quite specific to the EOS M range. The other option is to get the adaptor which will let you use any EF-S or EF lens, which you can get here: https://amzn.to/2DV5fy5

In which case, the Canon lenses listed here, as well as various third party lenses from brands like Sigma and Tamron will work. Hope this helps!

Caitlin says

25th August 2018 at 1:17 pm

Thank you so much for this informative post. I am starting out on my travel photography journey across the Middle East and was overwhelmed by where to begin with cameras. This was very helpful!

25th August 2018 at 1:33 pm

My pleasure! Let us know if you have any questions 🙂

Ira Sockowitz says

9th August 2018 at 8:15 pm

Laurence, thanks for a very thoughtful and in-depth discussion of options for a wide range of shooters.

As an owner of two bodies, Canon 5D and 5D Mark II respectively, I already own some of the lenses you reference. As I am planning a 9-15 moth RTW trip, I have a couple of questions for you: 1. My everyday lens is the 24-70 f2.8L so covered there. If you are willing to bear the wight, should I carry my 70-200 f.28L? I think I see it in some of your photos and wonder of its uses – close ups of nice architecture as well as long landscape shots. If not, what lighter weight alternative do you use/recommend? 2. Should I consider a smaller, more pocket-sized or easily managed camera for urban travel? I note that you use a mirrorless and again ask about the utility of doing that versus carrying my larger DSLR everywhere.

Appreciate all that you and Jessica do to aide us travelers and look forward to your reply.

9th August 2018 at 8:36 pm

Hi Ira. My pleasure, and thanks for your kind words.

So I normally travel with a 17-40 and a 70-200. So you could say I’m missing that classic middle ground, but I find the other two lenses cover enough to make up for it. If I was going on a round the world trip, I think I would lean more towards leaving the 70-200 at home. It is massively heavy, and unless there are really specific shots you want, you might find yourself doing fine with the 24-70. I would perhaps look at investing in a 2x extender instead and using that with your 24-70. It won’t be quite as amazing as the 70-200 in terms of sharpness and autofocus speed, but if you’re not shooting fast moving subjects, or planning on selling your photos to be printed on the side of buildings, I don’t think you’ll notice 🙂

We do travel with a Lumix GX8, which is a great camera. However, if I was to start over, I think I’d likely look at one of the larger sensor compact cameras for more casual use. These are really quite compact and portable, shoot in RAW, and have decent manual controls. The later Sony RX100 models, or the Panasonic Lumix TZ100 / TX200 would be my choice I think, purely so I can have a simple solution that doesn’t come with its own lens ecosystem to worry about!

I hope this helps, happy to expand more of course 🙂

1st August 2018 at 1:51 am

Thanks so much for the very helpful article.

I’ve been using a T3i and the 18-200mm for years, and am upgrading for my latest trip. I just got the Canon 77D and am contemplating whether to get a new lens as well. Realistically, I usually only carry one lens since it is a pain to switch; the 18-200 has done a great job covering both landscapes and far off subjects, but lately I’ve been more aware when it isn’t crisp. Do you think it is worth it to go for something like an 18-55 (similar to the 24-70 full frame on an APS-C I think) or similar? I’m not sure how much better the image quality would be (obviously some with the smaller range, but unclear the degree of improvement).

1st August 2018 at 11:45 am

First, I’d definitely ask if you need the extra range of something like the 18-200 – if you often find yourself at the more zoom end of the lens, then you will likely be unsatisfied with a shorter focal length.

Second, a newer camera body with a better sensor is definitely going to highlight the issues with your existing lens, so if you are noticing problems on the T3i with your existing lens, these will only be more apparent with a better body unfortunately. Of course, it also depends on what you are using your photos for – whilst images can look bad when we inspect them close up, if your shots are mostly for social media or relatively small images, you might not really notice, but for larger use, and especially for printing, you will likely want a higher quality lens.

Without an idea of your budget, its hard to give an exact recommendation, but generally higher quality means higher cost unfortunately!

One good option would be to rent a couple of the lenses you are looking into to see if you can really tell the difference, and go from there 🙂

4th August 2018 at 10:27 pm

On past trips I’ve definitely found myself using the range of the lens to take portraits of people from far away, and get far off statues etc., though the majority of my use is landscape and smaller zooms.

For now, my pictures are mostly just stored on my computer, but eventually I would like to print larger versions of them (though more likely in the 16×24 range, not huge). I’d like to keep expenditure <$1000 on the lens – I think the rental idea is a good one!

Rick Petersen says

18th June 2018 at 3:11 am

My camera system and lenses are pretty set, but it was informative article. Like seeing others opinions on gear which is how I found this.

Currently shooting a Lumix GX8, with the Leica 12-60mm and Leica 25mm. Love this combo and concur with your recommendation of a standard zoom and fast prime.

19th June 2018 at 11:23 pm

Thanks Rick! We also have the GX8, it’s a lovely camera, and we have it with the Lumix 12-35 f/2.8 which is a great walkaround travel lens too. Sounds like you have the perfect set up for travel, light and discreet 🙂 HAppy shooting!

16th June 2018 at 8:21 pm

After reading all that you still don’t come up with a good travel lens??????? Whats the point????

16th June 2018 at 10:17 pm

Hey Max! The goal of the article is to help folk navigate the fairly overwhelming choice of travel lenses, with suggestions given for different camera systems and budgets. Most folks should have an idea of what their camera system is, and then what their budget is, and from that it should be easy to use this post to decide which is going to be the best lens for them 🙂

Thomas FISCHER says

31st May 2018 at 1:31 pm

Great great article.

I am wondering for MFT what do think about thoses lenses for travelling: – 14-140 II F3.5 – lumix 7-14 F4 – lumix leica 15 mm F1.7 – lumix 42.5 F1/7

31st May 2018 at 7:27 pm

Thanks very much. I do love prime lenses because you get that lovely shallow depth of field effect, and they tend to be really sharp. I didn’t recommend any in my post because, well, I would have been writing forever, but with a micro four thirds system they make good sense because the whole system is smaller, so for travelling you can still have some prime lenses. I’d say your selection is ideal for travelling, with a focal range to cover pretty much everything from landscapes to animals, plus some nice lenses for portraits. So yes, I think you’ve picked some excellent choices!

13th May 2018 at 8:33 am

Hi Scott, and thanks for your comment. THe post is definitely new, although we do of course update old posts to ensure they are still relevant. In this case though that isn’t the case, I just missed that lens. I’ll take a look and see where it would fit, and thanks again for your input. Cheers, Laurence.

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10 Best Lenses for Travel Photography (in 2024)

A Post By: Jeremy Flint

Travel photography is a highly rewarding pursuit, but if you’re serious about getting the best shots, it pays to carry the right equipment, including a lens that can handle a broad range of travel subjects: astrophotography, architecture, landscapes, people, food, and more.

That’s where this article comes in handy. Below, I use my experience as a professional travel photographer to rank the 10 best travel photography lenses on the market in 2024, including options for plenty of budgets, brands, and camera systems (including models for the latest and greatest mirrorless lineups).

So whether you’re new to travel photography and looking to purchase your first lens, or you’re a travel-photography veteran looking to invest in some pro-quality glass, this article will give you everything you need to get started.

Let’s dive right in!

1. Nikon Z 24-120mm f/4 S

The Z 24-120mm f/4 S is our all-time favorite travel photography lens – and for a whole host of reasons, too. For one, it provides an impressive range of focal lengths, which is perfect for those seeking a single high-quality lens for all their travel needs. At 24mm, you can capture beautiful travel landscape shots; at 50mm, you can shoot portraits; and a 120mm, you can capture detailed photos of distant landscapes and architectural features.

The 24-120mm f/4 S is impressively sharp, so even if you’re hoping to create magazine-quality files or large prints, it’ll be up to the task. And while the lens only features an f/4 maximum aperture, this should be enough for all but the most demanding conditions, especially if you’re willing to carry a good travel tripod .

The elegant and attractive design, compact size, and solid build make it a great choice for amateur and pro-level travel photographers alike. It’s not the cheapest lens on the market, but the price is reasonable compared to f/2.8 alternatives, and you certainly get a lot for your money.

2. Canon EF 24-105mm f/4L IS USM

Regarded as one of the heavyweights of the photography manufacturing industry, Canon offers some of the best travel photography lenses on the market – including the impressive EF 24-105mm f/4L IS USM, an absolute travel classic that combines a versatile zoom range with built-in image stabilization.

This lens is great for all-around shooting; it covers a broad range of focal lengths, and you can capture everything from expansive cityscapes to architectural details, which makes the lens suitable for travel photographers of all stripes. No, it can’t quite go toe to toe with the Nikon Z 24-120mm f/4 in terms of versatility, but the price is significantly less, and the extra 15mm on the long end won’t make a huge difference for most shooters.

The 24-105mm f/4 boasts impressive sharpness, though the f/4 maximum aperture isn’t as fast as f/2.8 options (and therefore less than ideal for astrophotography and handheld photography in low light). But if you’re in need of a do-everything lens for serious travel shooting, the 24-105mm is a great pick.

3. Canon RF 24-240mm f/4-6.3 IS USM

If you are using Canon’s latest mirrorless cameras – such as the EOS R5, R6, or R7 – then the RF 24-240mm f/4-6.3 IS USM is a great introductory lens, particularly if you travel frequently and wish to minimize gear weight.   This handy little unit is remarkably compact, and you can slip it in a bag, a backpack, or a purse without issue (though you’ll want to make sure you protect it from bumps and scrapes!).

The lens is also excellent for travel shooting thanks to its expansive focal-length range and outstanding versatility; with wide, standard, and telephoto focal lengths, you can capture pretty much any subject, including landscapes, cityscapes, detail shots, and street portraits.

The 24-240mm is also reasonably well priced, making it a decent choice for beginners (compared to other RF-mount lenses, anyway!). Unfortunately, the lens does include some disadvantages – the maximum aperture is relatively narrow for low-light shooting, the optics aren’t on the same level as Canon’s L-lens lineup, and no lens hood is supplied – but if you’re looking for a do-everything lens to get started with travel photography, it’s a solid choice.

4. Nikon Z 24-200mm f/4-6.3 VR

The Nikon Z 24-240mm f/4-6.3 is a solid mirrorless lens for travel photography; the zoom range makes it capable of handling nearly any situation, and the quiet autofocus is great for capturing people and even wildlife unobtrusively.

The lens boasts plenty of travel photography possibilities thanks to its impressive portability and great design. Optically, expect to capture clear, sharp, and vivid images at every focal length, though you may encounter some softening toward the image corners.

The weather sealing prevents dust and moisture from entering the lens, and even serious travel photographers will appreciate the wide-to-telephoto zoom range, ideal for pretty much any type of travel photography, including landscapes, architecture, flowers, portraits, and more. The variable maximum aperture isn’t great for folks who often work handheld in low light, but you can handle most difficult scenarios by carrying a tripod, so this shouldn’t pose too much of a problem.

5. Sony E PZ 18-105mm f/4 G OSS

Sony offers an excellent lineup of APS-C mirrorless cameras, many of which are perfect for travel photography thanks to their compact size and impressive image quality. Of course, every travel camera needs a good lens, and the Sony 18-105mm f/4 is our first choice; it combines solid build quality, great optics, and a good price for an all-around impressive package.

While not a superzoom, the lens spans an impressive 5.8x zoom range from ultra-wide to short telephoto. It works especially well for street photography and even landscapes, where you can zoom in and out to frame shots accordingly, though it’s certainly a capable portrait and architecture lens, as well.

Autofocus is smooth and quiet, plus the lens also boasts Optical SteadyShot technology, which reduces camera shake and prevents blur when working handheld in low light. The f/4 maximum aperture isn’t ideal for shooting in the dark, but it’s not terrible, either, and even serious shooters will manage to make do. Finally, the lens is a Sony pro-quality lens, yet despite the excellent image and build quality, it’s surprisingly affordable, so it’s a good pick for serious photographers who are on a budget.

6. Sony E 18-135mm f/3.5-5.6 OSS

The Sony E 18-135mm f/3.5-5.6 OSS is an impressive all-around lens for travel photography; use it to photograph landscapes, architecture, people, and even (at 135mm) the occasional wildlife. Note that the lens is compatible with Sony’s E-mount APS-C mirrorless cameras but will not give great results on Sony full-frame models.

One of the lens’s key features is the built-in OSS (Optical SteadyShot) technology, which is great for low-light handholding. And if you frequently capture detail shots, you’ll love the short minimum focusing distance. The 18-135mm is lightweight and compact, too, which makes it perfect for the amateur photographer in search of a first travel photography lens. You can easily store it in a backpack or bag, and thanks to its small size, you can leave it on your camera for days of shooting and you’ll hardly even notice.

It’s not the most optically impressive lens, and the variable maximum aperture is a bit of a letdown, but for casual travel photography, the 18-135mm is certainly worth a look.

7. Fujifilm XF 18-135mm f/3.5-5.6 WR LM R OIS

If you’re a Fujifilm shooter, then look no further; the XF 18-135mm f/3.5-5.6 is one of the best travel lenses on the market, and it’s certainly an outstanding option for Fujifilm camera users. It’s great for capturing a wide range of travel subjects, from landscapes and cityscapes to wildlife and people, while the 5-stop image stabilization will keep you shooting crisp handheld shots in low light.

You can get in close to your subjects thanks to a short minimum focusing distance (always handy for detail shots). And solid weather resistance, not to mention impressive image quality, are both welcome features of this amazing lens. As with a number of other models on this list, the variable maximum aperture is somewhat limiting, and the lens is on the expensive side, but the great optics and useful focal length range make this handy lens our favorite Fuji pick.

8. Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4 OIS

If you’re a Panasonic shooter, then this 12-60mm f/2.8-4 lens is one of the best travel lenses you can buy; it delivers a superb focal-length range on Four Thirds cameras , spanning from 24mm to 120mm. You’ll get plenty of travel photography opportunities, and you can expect to capture breathtaking wide landscapes, standard street shots, and even mid-telephoto portraits. Thanks to the telephoto reach on the long end, you can even zoom in to highlight specific features, or you can hunt for architectural abstracts and the like.

This lens is lightweight, compact, and delivers sharp image quality even at 60mm. And don’t forget about the built-in image stabilization, which lets you shoot in low light without a tripod, always helpful for travel shooters. Unfortunately, the maximum aperture does narrow as you zoom from 12mm to 60mm, but you can still work with a decently wide f/4 aperture, even at 60mm.

9. Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM

The Sigma 18-200mm f/3.5-6.3 is a great travel lens for Canon and Nikon APS-C users, and it boasts an impressive combination of features, from a lightweight, compact design to an expansive zoom range. The price is highly reasonable for beginner travel photographers, too, which makes it a great budget lens (especially compared to standard Canon and Nikon options).

Note that the Sigma 18-200mm is designed for APS-C DSLRs, so you can expect focal-length reach spanning from around 27mm to 300mm, which is absolutely outstanding for basically any type of subject, be it landscapes, portraits, street scenes, or wildlife. You’ll also like the included lens hood, which lets you block out sunlight in impressive conditions for improved optical performance.

And although the lens is missing weather sealing, the built-in image stabilization offers improved performance in low light and is ideal for nighttime street photography, interior scenes, and more.

10. Tamron 18-200mm f/3.5-6.3 Di III VC

If you need a versatile travel photography lens for Sony APS-C mirrorless cameras, then check out the Tamron 18-200mm f/3.5-6.3, which offers an impressive zoom range for landscapes, cityscapes, architectural details, people, and pretty much everything else.

The built-in image stabilization system will keep your photos sharp in low light, while the advanced design delivers extraordinary image quality (even if sharpness falls off toward the telephoto end of the zoom range). Often lengthy zooms like this one suffer optically, but we’re quite impressed overall by its capabilities, and it offers enough detail for printing and high-quality displays.

The lens body is lightweight and compact, so you won’t feel weighted down by gear as you shoot, and the price is highly affordable – in other words, it’s yet another outstanding option for travel photographers on a budget.

The best lens for travel photography: final words

Ultimately, the best lens for travel photography depends on your camera setup, your image requirements, and what you plan to shoot. At the end of the day, it’s a personal choice – and as long as the lens you choose is compatible with your camera system, covers the zoom range you require, is within your budget, and delivers the right image quality, you can’t go wrong.

So good luck choosing a travel lens!

Now over to you:

Which lens will you purchase? Which is your favorite? Share your thoughts in the comments below!

Read more from our Cameras & Equipment category

Jeremy Flint is an award-winning photographer and writer, specialising in travel, landscape and location photography and is known for documenting images of beautiful destinations, cultures and communities from around the world. Jeremy has won awards including the National Geographic Traveller Grand Prize and the Association of Photographers Discovery Award, besides being commended in Outdoor Photographer of the Year. He has also been a finalist in the Travel Photographer of the year and British Photography Awards several times. He has been commissioned by commercial and editorial clients worldwide including National Geographic Traveller, Country Life, Discover Britain, USA National Parks and Visit Britain and has travelled extensively to over 65 countries.

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Home » Gear » best canon travel lenses

16 UNBELIEVABLE Canon Travel Lenses (2024)

Canon is one the most successful and well-regarded lens manufacturers in the world and for good reason – they produce some stunning pieces of glass.

Because of this, there is a Canon lens for nearly every type of photography out there – especially for travel photographers!

But sorting through Canon’s lens library can be very daunting. Which is exactly why we wrote this epic guide to the best travel lesnses for Canon. 

To shoot like a pro, you have to pack like a pro, and this insider guide to the best Canon travel lenses will show you EXACTLY which travel lens is best for YOU.

So without further ado, let’s get into discussing the best Canon lenses for travel photography (so you can shoot like a pro!)

Quick Answers: Best Full Frame Canon Travel Lenses

Quick answers: best travel lenses for canon ef-s, best full frame canon lenses for travel, best ef-s canon travel lenses of 2018, things to consider when buying the best travel lenses for canon, faq about the best canon travel lenses, final thoughts.

• All Around Best Travel Lens for Canon Full Frame – Canon EF 24-105mm f/4.0 L IS USM
• Best Full Frame Budget Travel Lens for Canon – Tamron 28-75 f/2.8 XR Di LD
• Best Full Frame Professional Travel Lens for Canon – Canon 24-70mm f/2.8L II USM
• Best Full Frame Prime Travel Lens for Canon – Canon 50mm f/1.8 STM
• Jump to -> The List of Best Full Frame Canon Lenses for Traveling

Canon EF 24-105mm f/4.0 L IS USM

• Feature Highlights > IS, 77mm filter
• Weight > 1.47 lbs/670 g
• Dimensions > 3.29” x 4.21”

Tamron 28-75 f/2.8 XR Di LD

• Feature Highlights > No IS, 67mm filter
• Weight > 1.12 lbs/508 g
• Dimensions > 2.87” x 3.62”

Canon 24-70mm f/2.8L II USM

• Feature Highlights > No IS, 82mm filter
• Weight > 1.77 lbs/ 805 g
• Dimensions > 3.48” x 4.45”

Canon 50mm f/1.8 STM

• Feature Highlights > No IS, 49mm filter
• Weight > 5.64 oz/160 g
• Dimensions > 2.72” x 1.54”
• All Around Best Travel Lens for Canon EF-S –   Canon EF-S 17-55mm f/2.8 IS USM Lens
• Best EF-S Budget Travel Lens for Canon EF-S –   Sigma 17-50 f/2.8 EX DC OS HSM
• Best EF-S Professional Travel Lens for Canon EF-S – Sigma Art 18-35mm f/1.8
• Best EF-S Prime Travel Lens for Canon EF-S – Canon 50mm f/1.8 STM
• Jump to -> The List of Best EF-S Canon Travel Lenses of 2018

Canon EF-S 17-55mm f/2.8 IS USM

• Weight > 1.42 lbs/645 g
• Dimensions > 3.29” x 4.35”

Sigma 17-50 f/2.8 EX DC OS HSM

• Weight > 1.24 lb/565 g
• Dimensions > 3.3” x 3.6”

Sigma Art 18-35mm f/1.8

• Feature Highlights > No IS, 72mm filter
• Weight > 1.78 lb/811 g
• Dimensions > 3.07” x 4.76”

Canon is, in a sense, at the head of the pack when it comes to lens R&D and is usually the vanguard of all things new and exciting in the camera lens world.

If you have a Canon camera (EF or EF-S) and are having trouble finding the best Canon lenses for travel photography, then we’re here to help!

We’ve compiled a list of 16 lenses that are suitable for travel photography. Each has their own merits (and faults) that will suit whatever kind of photographer that you are. Whether or not you’re a professional or an ultralight backpacker or a casual enthusiast there’s a travel lens from Canon out there for you!

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All Around Best Canon Lens for Travel (Full Frame)

  canon ef 24-105mm f/4.0 l is usm.

• Weight:  1.47 lbs/670 g
• Dimensions:  3.29” x 4.21”
• Filter Size:  77mm
• Image Stabilization:  Yes

The Canon EF 24-105mm f/4.0 L took the travel photography world by storm when it was released. With solid optics, a very useful focal range, image stabilization, and a respectable aperture, the Canon 24-105mm seemingly has it all. For those who want a useful full frame zoom lens that can do a little bit of everything, the Canon EF 24-105mm f/4.0 L IS USM is a great buy and is our choice for best Canon lens for travel photography.

The Canon EF 24-105mm f/4.0 L IS USM greatest strengths are its focal range and superior optical performance. At 24-105mm, this lens can capture everything from landscapes to close-up portraits.

The f/4.0 aperture, though not the fastest, is still very capable and, when shot wide open, can still create some nice bokeh. The lens is quite sharp – especially when stopped down – and combined with image stabilization and a fast autofocus, images are sure to be crisp.

The of Canon EF 24-105mm f/4.0 L IS USM does suffer from some distortion and chromatic aberrations. These are to be expected though from such a large package and these can easily be fixed in post-processing anyway.

Overall sharpness isn’t jaw-dropping either but, as mentioned before, stopping down the lens can fix this.

• Very useful focal range.
• Solid optical performance.
• Effective IS and autofocus.
• Should be stopped down for optimal sharpness.
• Some distortion and chromatic aberrations.
• Not the fastest aperture.

Best Full Frame Budget Canon Lens for Travel

  tamron 28-75 f/2.8 xr di ld.

• Weight:  1.12 lbs/508 g
• Dimensions:  2.87” x 3.62”
• Filter Size:  67mm
• Image Stabilization:  No

Though we were tempted to name the legendarily affordable Canon 50mm f/1.8 as our pick for best budget Canon lens for travel, we simply couldn’t pass on the Tamron 28-75 f/2.8 XR Di LD.

For around $500, you can get a fast, lightweight, sharp lens; that just about covers all the bases for travel photography! Though it’s not the cheapest lens on this list, the Tamron 28-75 f/2.8 XR Di LD is certainly the best bang for your buck and a great alternative to some of the more expensive full frame lenses.

Aside from the price, the Tamron 28-75 f/2.8 XR Di LD greatest strengths are its size and image quality. At the time of its release, this lens was touted as the lightest and most compact medium zoom lens (that had a f/2.8 aperture) yet. 10 years later, it’s still impressively useful.

With a fixed f/2.8 aperture, the Tamron Tamron 28-75 f/2.8 XR Di LD should deliver excellent image quality as is customary of this type of lens. It doesn, in fact, perform very well, creating pictures that are crisp and sharp. Corner softness is a problem when the aperture is wide open but, like most lenses, this disappears when the lens is stopped down. Distortion is noticeable at wider angles and CA is well controlled throughout.

The Tamron 28-75 f/2.8 XR Di LD is built from high-grade plastics. Usually, in these cases, durability becomes an issue as plastic is less hardy than certain alloys. Given the price point of this lens though (plastic is cheaper) this is understandable and probably forgivable if price is a concern.

• Very affordable.
• Light and small.
• Overall great image quality.
• Soft edges in images.
• Plastic construction.

Best Full Frame Professional Canon Travel Lens

  canon 24-70mm f/2.8l ii usm.

• Weight:  1.77 lbs/ 805 g
• Dimensions:  3.48” x 4.45”
• Filter Size:  82mm

If you like the idea of having a fast, supremely sharp lens that can outperform all the rest and you don’t have financial concerns, then the Canon 24-70mm f/2.8L II USM is about the best that you can get.

With near-flawless optics, a constant f/2.8 aperture, and superb construction, the Canon 24-70mm f/2.8L II USM is one of the most impressive lenses that you can buy and is our choice for the best professional Canon travel lens.

The Canon 24-70mm f/2.8L II USM is classified as a “medium zoom;” we’d like to call it a “working man’s lens” though because it performs amazingly well and is very reliable. Lenses like these are used by professionals to get shit done. The Canon 24-70mm f/2.8L II USM is no exception.

The Canon 24-70mm f/2.8L II USM’s optics are just about perfect – sharpness is superlative, CA and distortion are extremely well controlled, and mechanics are state-of-the-art. The lens’ autofocus system is silent as the grave and very quick.

The constant f/2.8 aperture performs better when shot wide open than other lenses, so low light photography should be less of a hassle. Throw in a rugged, weather-sealed body that can withstand the elements, and you have a lens that can go anywhere and do (almost) anything.

The Canon 24-70mm f/2.8L II USM is not perfect though. Most noticeably, the lens struggles while shooting subjects up-close – sharpness drops down and focusing becomes finicky at these short distances.

On a more general note, the Canon 24-70mm f/2.8L II USM still lacks image stabilization, which appears to be endemic to all pro-level medium zooms. The price of this lens may make some shudder as well.

• Unbeaten image quality.
• Robust, weather-resistant build.
• Fast aperture and autofocus.
• Very expensive.
• Still no image stabilization?
• Struggles up close.

Best Full Frame Prime Canon Travel Lens

  canon 50mm f/1.8 stm.

• Weight:  5.64 oz/160 g
• Dimensions:  2.72” x 1.54”
• Filter Size:  49mm

Some lenses are just timeless; the Canon 50mm f/1.8 is one of those. For years, the Canon 50mm f/1.8 has been loved and used by thousands of photographers and has solidified itself in their kits. It’s current iteration, the Canon 50mm f/1.8 STM continues the legacy.

There are simply too few lenses that can compete with the Canon 50mm f/1.8 STM’s price point and image quality. This lens is one of the most useful (ever) and travel photographers can grab one for around only $100!

The Canon 50 f/1.8 STM offers great optical quality. When used wide open, the lens has great center sharpness although the edges are somewhat soft.

When stopped down, this softness disappears quickly. CA is well controlled and there is a bit of distortion but latter can be easily fixed in post-processing. Build-wise, the Canon 50mm f/1.8 STM is very-small, near pancake-like, and is built from more durable materials than its predecessors.

One of the reasons the Canon 50mm f/1.8 STM has succeeded so well is its focal length. 50mm lenses, lovingly referred to has “nifty fifties,” are super flexible focal-wise. Nearly any scene can be captured with a 50mm lens, from landscapes to people to urban settings. You can read this article for more on why 50mms are amazing.

Let’s not forget the age-old saying “you get what you pay for” though – the Canon 50 f/1.8 STM, obviously, lacks a lot of things.

Autofocus is reportedly a little sluggish, peak sharpness isn’t achieved until f/5.6, and distortion is apparent, which isn’t something you see very often in prime lenses. Downsides taken into consideration, it’s still hard not to love the Canon 50 f/1.8 STM.

• Price that can’t be beaten.
• Ultra-portable.
• Excellent optics.
• Autofocus can be sluggish.
• Has to be stopped down for best optical quality.
• Some distortion.

Best Full Frame Canon Travel Lens for Landscape Photographers

Canon ef 16-35mm f/4.0l is usm.

• Weight:  1.35 lbs/615 g
• Dimensions:  3.25” x 4.44”

For travel photographers who are going to be taking primarily landscape or, perhaps, interior architecture photos, the Canon EF 16-35mm f/4.0L IS USM is a no-brainer. With astounding optical performance and a relatively lightweight, rugged body, this is the best Canon travel lens for landscape photographers.

Optically, the Canon EF 16-35mm f/4.0L IS USM leaves little to be desired. The lens is amazingly sharp at nearly every aperture until f/16.0 when diffraction sets in. CA is well controlled and distortion, which is very common in wide zooms, is actually well-maintained.

The corners do show vignetting that never really disappears no matter what aperture you’re at but, like distortion, this can be alleviated somewhat in post-processing.

The Canon EF 16-35mm f/4.0L IS USM’s aperture is a little on the slow side and won’t be appropriate for certain situations like astrophotography. Thankfully, this lens does come equipped with image stabilization though, which will be helpful with handheld shooting in low-light as well as videography.

For diehard travel photographers who are constantly on the move, the Canon EF 16-35mm f/4.0L IS USM lightweight will appeal greatly. Given its usefulness, the Canon EF 16-35mm f/4.0L IS USM is quite compact and is thus more versatile.

Thanks to its robust construction as well, this lens will stand up to elements, which landscape photographers will be exposed to quite often.

• Lightweight.
• Excellent optical performance across the spectrum.
• Image stabilization helps with slower aperture.
• Slower aperture.
• Some corner shading.
• Not appropriate for astrophotography.

Best Full Frame Canon Travel Lens for Portrait Photographers

Canon 85mm f/1.8 usm.

• Weight:  15 ozs / 425 g
• Dimensions:  2.95” x 2.81”
• Filter Size:  58mm

Much like the Canon 50mm f/1.8 USM, the Canon 85mm f/1.8 USM stuns with its awesome image quality, small size/weight, and, best of all, unbeatable price. For those who enjoy portrait photography, this is the best travel lens for Canon hands down.

85mm is one of the most widely regarded focal lengths among photographers. At this narrower angle, subjects are isolated wonderfully against their backgrounds and bokeh is usually of that dreamy variety. These lenses are also known for being ridiculously sharp.

What dissuades many newcomer photographers from these 85mm lenses are that they are usually prohibitively expensive. Most of the good ones go for at least $1000 or more (the Canon 85mm f/1.2L is $1,800!!!).  The Canon 85mm f/1.8 USM, on the other hard, is usually found for only (^) though, which is why it’s such an awesome opportunity!’

The Canon 85mm f/1.8 USM delivers in much the same way as its competitors do – sharpness is excellent, the bokeh is smooth, autofocus is quick, and there is little in the way of blemishes e.g. CA, distortion or vignetting. This lens is the real deal.

The Canon 85mm f/1.8 USM does suffer from some very minor issues – shooting wide open often results in soft, CA laden images plus there’s no lens hood included. In my opinion, these flaws are far-and-away forgivable. At the end of the day, this is a must for any portrait photographer.

• Amazing price given its focal length.
• Stellar optics.
• Very compact.
• Little soft when shot wide open.
• Chromatic aberrations when shot wide open as well.
• No lens hood included.

Best Full Frame Canon Travel Lens for Astrophotographers

Rokinon 20mm f/1.8 as ed umc.

• Weight:  1.09 lbs/497 g
• Dimensions:  3.27” x 3.48”

The Korean company Rokinon, or Samyang as it’s sometimes referred to, is most well-known for producing sharp, effective lenses that are very affordable. The Rokinon 20mm f/1.8 AS ED UMC is one such lens. With this lens, you can capture the night sky in all of its splendor and not have to break the bank in the process. For these reasons, we think that the Rokinon 20mm f/1.8 AS ED UMC is the best Canon travel lens for astrophotography.

Rokinon lenses are cheaper because they lack a lot of the electronics that are found in modern day lenses. Autofocus and some recorded data are possible because of these electronic components and so Rokinon lenses cannot do either. When using the Rokinon 20mm f/1.8 AS ED UMC, you’ll have to focus the lens manually and write down the aperture value for future reference.

Honestly, focusing manually isn’t such a hassle especially if your shooting landscapes and starscapes. Since the scene in question is far away and doesn’t really “move,” you won’t have to worry much about shifting focus. For me, the cheaper price tag is worth the sacrifice.

Optically, the Rokinon 20mm f/1.8 AS ED UMC is still a worthy performer. Sharpness is great though you’ll have to deal with some CA at wider apertures; that latter bit maybe tedious as you’ll being shooting at wider apertures near constantly for astrophotography. Try stopping it down just a tad to hit that balance between optimal low light and optical performance.

The body of the Rokinon 20mm f/1.8 AS ED UMC is built from high-grade plastics while the mount is metal; both are quite sturdy. The whole lens can feel quite bulky though not as much as some other full frame lenses.

• Good optical performance for price.
• Distortion is well controlled.
• Fast and wide.
• Slightly bulky.
• Manual only.
• CA and shading at widest aperture

Best Full Frame Canon Travel Lens for Telephoto Lovers

  canon 70-200 f/4.0l usm.

• Weight:  2.99” x 6.77”
• Dimensions:  1.55 lbs/705 g
• Image Stabilization:  No, but can come with IS for a higher price

Telephoto zooms are some of the most expensive lenses out there – they’re bigger, have more moving parts, and contain more glass elements. Many wildlife photographers invest in only one and expect to get their money’s worth out it.

For those who can’t or don’t want to drop a couple of grand on a professional telephoto zoom or need IS, look no further than the Canon 70-200 f/4.0L USM! Though this lens is one of the most affordable in the bunch, it still performs very well. For backpackers who need something less expensive and doesn’t sacrifice much quality, the Canon 70-200 f/4.0L USM is one of the best telephoto Canon travel lenses that you can buy.

There’s not much to hate about how the Canon 70-200 f/4.0L USM performs – images are very sharp, CA is well controlled, and the autofocus is zippy. The corners are a bit soft at longer focal lengths but this is endemic of most telephoto zooms. It can arguably hold its own against other more expensive telephoto zooms outside of low-light situations.

Those who shoot fast-moving subjects or more often in low-light may be wanting something more out of the Canon 70-200 f/4.0L USM – the f/4.0 aperture is somewhat dim and the lack of IS can be a problem. Luckily, that latter gripe can be alleviated by investing a little more in the Canon 70-200 f/4.0L IS USM , which is the same lens albeit with image stabilization.

Being an L-type lens, the Canon 70-200 f/4.0L USM is quite robust and can hold its own against the elements. Weight wise, it’s actually a bit on the lighter side, which I’m sure will appease backpackers. It is not, shorter or less cumbersome than others though.

• Great price for telephoto.
• Excellent optical performance.
• Great autofocus.
• Still relatively big and bulky.
• f/4.0 may leave some wanting.
• No IS, but you can buy a different model with this feature

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All Around Best Canon Lens for Travel (EF-S)

  canon ef-s 17-55mm f/2.8 is usm.

• Weight:  1.42 lbs/645 g
• Dimensions:  3.29” x 4.35”

The Canon EF-S 17-55mm f/2.8 IS USM is a fine lens thanks to its fast aperture, image stabilization, and solid optical performance. If you need a medium zoom lens and like shooting in low-light than we recommend this one as it is our choice for the best Canon EF-S lens for travel photography!

At 17-55mm is roughly 25-85mm in full frame equivalency, which makes it a classic medium zoom. These lenses are usually very useful as they offer an excellent mix of great image quality, fast apertures, and the ability to shoot many subject matters because of its focal range.

The Canon EF-S 17-55mm f/2.8 IS USM is a fine medium zoom for the company’s EF-S line. Optics are generally very good in this lens – sharpness is excellent throughout the aperture range, peaking at f/4.0. Images are a little soft at f/2.8. CA and vignetting are also apparent when this lens is shot wide-open.

Of great benefit is the addition of image stabilization, which, for some reason, isn’t always built into f/2.8 medium zooms. The IS works very well and when you combine it with the fast aperture, you have a lens that functions very well in handheld/low-light situations.

The Canon EF-S 17-55mm f/2.8 IS USM is a bit bulky for an EF-S lens. Some might find this a positive rather than a negative though as its greater bulk is related to its greater durability. Overall, this lens is built rather well and should hold its own.

Finally, this lens is a bit expensive, again, considering that it’s for the EF-S line. If you find the price prohibitive, be sure to take a look at our next lens review!

• Performs very well in low-light.
• Good image quality.
• Quick, silent autofocusing.
• Chromatic aberration and vignetting.
• Slightly more expensive.

Best EF-S Budget Canon Travel Lens:

• Weight:  1.24 lb/565 g
• Dimensions:  3.3” x 3.6”

For those who might find the Canon EF-S 17-55mm f/2.8 too expensive, the Sigma 17-50 f/2.8 EX DC OS HSM is an excellent alternative. For a couple of hundred dollars less, you have a lens that offers similar optical performance, image stabilization, and a fast aperture. The Sigma is one of the best bang-for-your-buck lenses on this list and is our choice for best budget travel lens for Canon’s EF-S mount.

The Sigma 17-50 f/2.8 EX DC OS HSM performs in a very similar way to the Canon EF-S 17-55mm f/2.8 – sharpness is overall very good though the edges are soft, more so in the Sigma than the Canon. Chromatic aberrations are present to some degree and vignetting is a little stronger when the lens is shot wide-open. Each lens does produce slightly different distortions and CAs but these differences are minor enough to feel more like distinct and amiable personality traits.

Image stabilization (referred to as optical stabilization in Sigma lenses) is built into the Sigma 17-50 f/2.8 and works well. Like the Canon EF-S 17-55mm f/2.8, the Sigma 17-50 f/2.8 EX DC OS HSM excels in low-light situations because of its optical stabilization and fast aperture.

The Sigma 17-50 f/2.8 EX DC OS HSM is a bit lighter than the Canon EF-S and the barrel is shorter as well. The plastic construction leaves a bit to be desired but the lens still feels solid enough. Many users report that the focus ring is a bit annoying to use as well.

• Great bang for your buck.
• Excellent center sharpness.
• Fast aperture and IS.
• Edges are soft at lower apertures.
• Tedious focus ring.

Best EF-S Professional Canon Travel Lens

  sigma art 18-35mm f/1.8.

• Weight:  1.78 lb/811 g
• Dimensions:  3.07” x 4.76”
• Filter Size:  72mm

If there was a lens that would convince someone to invest in the EF-S mount, it would be the Sigma Art 18-35mm f/1.8. Simply put, this lens is one of the most gorgeous, most effective, and most admired lenses in all of the photographic world. It is, without question, the best premium EF-S Canon travel lens that a professional could buy

The Sigma Art 18-35mm f/1.8 has it all – amazing optical quality, excellent construction, a fast aperture, and blazing autofocus. Even at its widest aperture (f/1.8), the Sigma Art 18-35mm f/1.8 is amazingly sharp from corner to corner, which is very impressive. Chromatic aberrations, vignetting, and distortion are still present but in microscopic amounts.

The Sigma Art 18-35mm f/1.8 is made from various alloys and feels very robust. Topping out at over 800 grams, this lens is definitely on the heavier side but, for many photographers, this adds a nice balance to the lens and feels good in their hands.

The focal range of the Sigma Art 18-35mm f/1.8 can feel a little limited for some photographers. Luckily, this range still contains some very useful focal lengths and users will still be adept at taking photos of everything from landscapes to portraits. Given the unprecedented performance of this lens as well, we think that it’s a worthy tradeoff.

• Extremely sharp at all apertures.
• Very few optical blemishes (CA, distortion, vignetting, etc).
• Focal range may be too limited for some.

Best EF-S Prime Canon Travel Lens

It’s back! Regardless of which Canon mount that you use, the Canon 50mm f/1.8 STM is still one of the best deals that you can find. Few lenses can compete with this one as no other offers the sharpness, size, and versatility this one does for such a low price. It is, above all else, the best budget Canon lens for travel of any sort, period.

Even though this lens was developed for the full frame Canon EF system, it can still be mounted on an EF-S body. By doing so, the lens’ focal length will effectively be extended – to 75mm – for certain technical reasons . Overall image quality isn’t affected in the least though and some might even find this change more appealing as the increased telephoto effect is great for portraits.

For a complete review of this lens, refer to our former expository . Aside from the focal length, little will be different about the Canon 50mm f/1.8 STM when using it with an Ef-S camera.

• Price that can’t be beat.

Best EF-S Canon Travel Lens for Landscape Photographers

  canon 10-18mm f/4.5-5.6 is stm.

• Weight:  8.47 oz/240 g
• Dimensions:  2.94” x 2.83”

Don’t let this lens’ appearance fool you – this is one of the best Canon travel lenses for landscapes photographers out there and a must-have in their bags. Offering stellar sharpness in a tiny package and at a great price, the Canon 10-18mm f/4.5-5.6 IS STM will serve you very well.

Most look at the Canon 10-18mm f/4.5-5.6 IS STM’s price tag and plastic body and immediately dismiss it as poor craftsmanship. I mean, how could something that looks so basic be worth buying?

Little do they know that the Canon 10-18mm f/4.5-5.6 IS STM is actually an extremely sharp lens at nearly every aperture setting. Seriously! Overall resolution with this lens is very impressive. Vignetting and distortion, which are common in wide-angle zooms, are still present but actually very well controlled. Chromatic aberrations are noticeable at times but these can be fixed in post processing.

Autofocus in the Canon 10-18mm f/4.5-5.6 IS STM is speedy and the included image stabilization is very handy in low-light situations. The extra 4 stops of shake compensation that you get more than makes up for the relatively slow aperture.

At less than 10 ozs as well, the Canon 10-18mm f/4.5-5.6 IS STM is very portable and should take up next to no room in your bag. The Canon 10-18mm f/4.5-5.6 IS STM’s build quality is, justifiably, subject to some criticism for being rudimentary but, given the amazing price of this lens, most will forgive this fault I’m sure.

• Impressively sharp.
• Very good price.
• Some vignetting and distortion.
• Basic plastic construction.
• Chromatic aberrations present around the edges.

Best EF-S Canon Travel Lens Portrait Photographers

  canon 50mm f1/.4 usm.

• Weight:  10.23 oz/290 g
• Dimensions:  2.91” x 1.99”

For those who want a little extra speed to throw out the backgrounds behind their subjects, think about upgrading to the Canon 50mm f/1.4 USM over the f/1.8. The brighter aperture combined with good image quality is sure to create some amazing shots. We at Broke Backpacker definitely recommend this lens to any portrait photographer looking for the best travel lens for Canon.

Like the 50mm f/1.8 that we talked about just prior, the Canon 50mm f1/.4 USM was designed to be used with Canon’s full-frame EF mount. When used with a cropped EF-S mount, the focal length of this lens becomes longer. This gives the benefit of isolated your subjects even more and creates some lovely bokeh.

Optically, the Canon 50mm f1/.4 USM performs well though you’ll have to stop it down to around f/4.0 or f/5.6 to achieve maximum sharpness. When used wide-open,the edges are noticeably soft while the center is somewhat less sharp. Portrait photographers may not notice this softness around the edges or even care about it as these areas are usually blurred from the bokeh anyways.

Most of the time, the Canon 50mm f1/.4 USM’s autofocus performs as it should: quickly and accurately. Many users report that the autofocus can lag at times though. The Canon 50mm f1/.4 USM does tend to behave differently depending on the camera body that it’s mounted on and autofocus may be affected as such.

Build-wise, the Canon 50mm f1/.4 USM is built from high-grade plastics that many complain feel flimsy at times. Regardless of its integrity, which is good enough, the lens is very light and compact. Packing this one around is very easy.

• Very fast aperture.
• Good price.
• Center is sharp and bokeh is dreamy.
• Needs to be stopped down for optimal sharpness.
• Focusing struggles at times.

Best EF-S Canon Travel Lens for Astrophotographers

  samyang 16mm f/2.0 ed as usm cs.

• Weight:  1.28 lb/583 g
• Dimensions:  3.39” x 3.52”

Rokinon/Samyang deliver yet again the best travel Canon lens for astrophotographers. Like full frame Canon users, those who use the EF-S mount will find that Samyang lenses will give them the best low-light performance and for the best price. In summary, the best astrophotography lens for the Canon EF-S mount is the Samyang 16mm f/2.0 ED AS USM CS.

Like most Rokinon/Samyang lenses, image quality is excellent. Center sharpness is great from the get-go at f/2.0, while the edges are only moderately so. Stopping down the lens a bit allows the edges to catch-up sharpness-wise. Chromatic aberration, vignetting, and distortion are all well-controlled.

Even though the Samyang 16mm f/2.0 is built mostly from plastics sans the metal mount the whole lens feels very sturdy. The zoom ring is perfectly damped and feels great to use. Regrettably, there are no hyperfocal markings on the actual lens, which means you’ll have to use a separate app or make the calculations yourself. Investing in a Rokinon/Samyang lens means that you’ll have to relinquish autofocusing. While this could be a problem with certain types of shooting, autofocus isn’t very useful with astrophotography anyways. Shooting landscapes as well shouldn’t be hampered by manual focusing either. Doing both, you’ll hardly miss autofocusing.

• Great center sharpness.
• Good value.
• Fast aperture.
• Needs to be stopped down for edges to catch up.
• Manual focus.
• Lack of hyperfocal scale.

Best EF-S Canon Travel Lens for Telephoto Lovers

  canon ef-s 55-250mm f/4-5.6 is stm.

• Weight:  13.23 lb/ 375 g
• Dimensions:  2.76” x 4.38”

For photographers who use telephoto lenses a lot to shoot wildlife or sports, there’s a lot to love about the Canon EF-S 55-250mm f/4-5.6 IS STM. This a surprisingly sharp lens that performs very well thanks to an effective autofocusing system in addition to image stabilization. Given the amazing price of the lens these days as well, the Canon EF-S 55-250mm f/4-5.6 IS STM should be in almost every Canon EF-S photographer’s bag.

We mentioned just before that the Canon EF-S 55-250mm f/4-5.6 IS STM is a surprisingly sharp lens – it is, in its own right, a very sharp lens actually. Center sharpness is excellent throughout the lens’ focal and aperture range. The edges, though slightly soft, are nice and sharp once the lens is stopped down. Overall sharpness does drop-off beyond the 200mm focal point though.

The Canon EF-S 55-250mm f/4-5.6 IS STM has a fairly slow aperture, one that you’ll probably be stopping down anyways for sharpness. Thankfully, the lens’ internal stabilization is very effective and compensates for 4 stops of shakiness. Combine this with a quick and accurate autofocus system and capturing moving objects should be less of a problem.

Construction wise, the Canon EF-S 55-250mm f/4-5.6 IS STM is just ok. The all-plastic body doesn’t necessarily scream “take me into the wilderness” but it’s still reasonably sturdy. Due to its plastic construction, the Canon EF-S 55-250mm f/4-5.6 IS STM is very light especially so for a telephoto lens. Note that there is no lens hood included with this lens.

• Great sharpness.
• Very lightweight.
• Effective autofocus and IS.
• Aperture’s a little slow.

Now, you  could spend a fat chunk of $$$ on the WRONG present for someone. Wrong size hiking boots, wrong fit backpack, wrong shape sleeping bag… As any adventurer will tell you, gear is a personal choice.

So give the adventurer in your life the gift of convenience: buy them an REI Co-op gift card!  REI is The Broke Backpacker’s retailer of choice for ALL things outdoors, and an REI gift card is the perfect present you can buy from them. And then you won’t have to keep the receipt. 😉

Lenses are just as if not more important as your travel camera ! They are the ones that create the image, that bend the light to then be read by the camera sensor. Sharpness, contrast, color, composition; all of these aspects are influenced greatly by the quality of your lens.

When looking for the best travel lens for your Canon camera, there are many qualities to take into consideration. Size, aperture, IS, and more are all vital components to the making of a great travel lens.

Below is a list of features to consider when looking for the best travel lens for Canon. Note that I’m going to glossing over a lot of photographic concepts here. I’ll try and keep things clear; otherwise, feel free to post any question regarding photography in the comment section below.

Size/Weight

Lenses come in all shapes and sizes from pint-sized pancakes to behemoth, tree-trunk-like tools. How big and heavy a lens thus influences how you carry and use it.

Larger lenses obviously take up more space and so leave less for other lenses or accessories. As you start packing more as well, the weight of your bag gets heavier and heavier. I personally have carried both heavy backpacks and shoulder bags and can say it’s fun for about 5 minutes.

If you have limited space in your camera bag or like lenses that happen to be larger, you’ll have to pick and choose your equipment wisely. Take note of how much a lens weighs and its dimensions and then think about how much you’re willing to carry.

If you’re going to be bringing a lot of equipment with you, be sure to invest in a good travel camera bag as well! You’ll need something spacious and secure to protect your equipment to the max. Read our article on the best travel camera bags for some suggestions!

Along with shutter speed and ISO, aperture is a key part of the exposure triangle , which must be considered if you want to take great photos. Though shutter speed and ISO fall within the realm of the camera, the aperture is directly controlled by the lens. How an aperture behaves directly influences what kind of photos you can take and can also lead to some pretty creative compositions.

A fast aperture – one that is less than or around f/2.8 – is almost always preferable. Though not always the case, a faster aperture is usually indicative of optical quality, It is also useful during certain photographic situations. Without going too deep into the mechanics, a faster aperture means that your camera can take in more light and, thus, be more suited for dimmer situations. Moral of the story: a smaller aperture number (meaning faster) is most often a good thing.

A quick aperture is not always necessary though. Lots of lenses with slower apertures can offer exceptional image quality e.g. the Canon EF 16-35mm f/4.0L IS USM. Besides, most lenses don’t even reach optimal sharpness until they’re stopped down to f/5.6 or f/8. Unless you really need a fast aperture for low-light performance or for creating bokeh, you may not need to spend the extra money.

Focal Length/Type

A lens’ focal length dictates its field of view , which, in turn, determines how large the compositional frame is. The wider the focal length, the wider the field and the more you can capture in a photo. In addition, depth is influenced as well – foregrounds and backgrounds appear closer when shot with a longer lens and further apart with a wider lens. Focal length is measured in millimeters e.g. 12mm, 50mm, 70-200mm.

Certain lenses with certain focal lengths are better for capturing certain scenes. Longer lenses, renowned for their shallow depth of field and isolating qualities, are great for portraits. Wider lenses, with their expansive fields of view, are great for interior shots when space is tight or for capturing big vistas.

Whether or not a lens covers a single focal length or many is something to consider as well. Prime lenses only cover one focal length but are usually sharper and less prone to optical abnormalities. Zoom lenses cover multiple focal lengths but can suffer from image softness, chromatic aberrations, and distortion. Higher quality zoom lenses suffer less from these issues but you’ll have to pay a pretty penny for them.

What type of photographer you are will determine what kind of focal length you find most useful. You’ll often find that certain lengths are more attractive to your style of shooting or that you favor a particular lens over others. Remember too that any lens can be useful if they’re used by a skilled set of hands. A good photographer can take beautiful landscape photos with a telephoto lens or create an alluring portrait using a super-wide angle.

Not every autofocusing system is created equal – some are lightning fast, utilizing state-of-the-art technology, while others are sluggish doofuses that can’t make heads or tails of a subject. How well an autofocus system behaves in a lens may or may not frustrate you depending on your photographic style.

Generally speaking, most lenses autofocus pretty well. Only in rare situations does a lens really suffer from poor autofocus and most of the time these are pretty much shunned.

Certain photographers, like sports or wildlife photographers, may need better than average autofocusing to keep up with their subjects. If you need an autofocus system for your style of shooting, be sure to see if your potential new lens is up to parr. Also know that camera sensors play an important part in autofocusing as well so, if you keep finding yourself unimpressed, it could be more than the lens.

Though autofocusing is currently the dominant trend in modern photographic equipment, lens that use manual focusing are still common. Of particular note, Rokinon/Samyang lenses are only manual focus, a decision made by the company to cut costs.

Manual lenses can still be useful in certain situations. Landscape and astrophotographers feel their limitations less, due to their subject matter, and may even enjoy their vintage-like feel, much like a musician might enjoy an old record.

Filter Thread

Each lens has a certain filter threading found at the front of the barrel, which is used to attach various (you guessed it) filters. These filters e.g. polarizers, NDs, UVs are used for both creative effects and sometimes additional protection.

There really isn’t such a thing as a proper filter threading. Most filter sizes have become standardized and there is almost always a full set of filters for each one. No matter your lens, there’s a filter that will fit it.

Filter sizes do play in part in costs though. If you have multiple lenses with multiple filter threadings, you may end up spending more money for more filters, many of which maybe perform in the same way. Buying the same filter twice just to accommodate different lenses is super annoying.

To avoid this issue, try investing in a single set of filters, preferably with a larger threading, and than use step-down rings. These handy accessories are adapters for your filters and will allow you to install larger filters on lenses with smaller threadings. Or think about investing in a slot-in filter system, which uses a screw-in adapter to hold a plate-like filter. Polarizer filters are not effective with slot-in filter systems.

Image Stabilization

Image stabilization or optical stabilization technology has become extremely commonplace in modern-day lenses. This tech is found in all sorts of lenses, from cheap pieces of shit to luxurious professional-grade glass. It is, at the end of the day, a very useful feature to have in your lenses as it can allow for some very crisp images.

Image stabilization (IS) works by compensating for shake caused by hand holding a camera. This shakiness is, unless you’re using a tripod, often unavoidable. Shakiness appears as blurring in images and so they are usually unusable (though some photographers have found a creative way to use shake). With image stabilization, handheld shooting becomes much easier as you have to worry less about steadying your hand.

Whether or not you need image stabilization is something to consider in choosing the best Canon travel lenses. If you’re a landscape photographer who constantly has their camera mounted on a tripod, image stabilization is pretty redundant. On the other hand, if you shoot subjects that require you to move often or you just like to have your camera ready in your hands, then IS would be useful.

Sensor Size

You’ll see two types of Canon lenses out there: EF and EF-S. This is because certain lenses are designed for certain sensor sizes. EF lenses are meant to be mounted on full frame Canon cameras while EF-S lenses are meant for APS-C or crop sensor Canon cameras.

Lenses are designed to be paired with their corresponding sensor sizes for reasons that are technically challenging and too time-consuming to explain right now. Just understand that a lens will most often function best with the sensor that it was designed for. Some lenses do get along quite well with different sensor sizes and you’ll have to study which ones these are. Keep this in mind when purchasing a travel camera lens.

You can mount full frame lenses on APS-C cameras (and not vice versa), again, for certain technical reasons. Optically, the lens should perform somewhat similar to its native sensor type – vignetting may increase but sharpness is often not affected. Of very important note, the focal range will be lengthened when mounting a full frame lens onto a crop sensor body – a 24mm EF lens mounted onto EF-S camera will behave more like a 35mm lens.

Still have some questions? No problem! We’ve listed and answered the most commonly asked questions below. Here’s what people usually want to know:

What Canon lens do professional photographers use?

Professional Photographers that use (full frame) Canon cameras often use the Canon 24-70mm f/2.8L II USM . If you’re shooting with a Canon EF-S, check out the Sigma Art 18-35mm f/1.8 .

Which lens is best for travel photography?

Travel photography is different than shooting professionally or shooting fixed set ups. Therefore, we recommend the Canon EF 24-105mm f/4.0 L IS USM , which is ideal for your travel adventure.

How can I protect my camera lens?

When storing your camera, make sure you have a high quality camera and lense bag that will prevent pressure points and scratching. Having an additional UV filter will add more protection as well.

How do I know what camera lense I need?

First, find out what kind of camera you have. There are all kinds lenses for different camera types. Then figure out what your main shooting style (travel, professional, landscape, etc) will be and choose the lense accordingly.

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So there you have them – the best travel lenses for Canon! We’ve covered 16 lenses – 8 for each of Canon’s mounts – and every one of them is unique. Each one has its own strengths and weaknesses and each quality needs to be taken into consideration when looking for the best Canon lenses for travel photography.

Consider what kind of photographer you are and what kind of lens(es) you need. Do you like to photograph wildlife or faraway subject? Then buy a telephoto lens like the Canon 70-200mm f/4.0 L USM. Maybe you like to shoot landscapes and want to try your hand at astrophotography? Invest in a fast, wide-angle prime like the Rokinon 20mm f/1.8 then!

Once you’ve realized what kind of travel photography you want practice, it’s just a matter of choosing the best Canon travel lens for yourself. Know that each one will be different and that each will dramatically affect the quality of your pictures. Lenses are, after all, the apparatus that creates the image in the first place.

So think carefully about which Canon travel lens is best for you. As one photographer once told me: “you don’t invest in an expensive camera; you invest in great glass.” Upon reaching a conclusion, just buy it! You’ll feel good knowing that you did your homework and bought the perfect lens for yourself.

And for transparency’s sake, please know that some of the links in our content are affiliate links . That means that if you book your accommodation, buy your gear, or sort your insurance through our link, we earn a small commission (at no extra cost to you). That said, we only link to the gear we trust and never recommend services we don’t believe are up to scratch. Again, thank you!

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great article but surprised not to see 18-135 or 15-85 for EF-S.

I’d suggest the two Canon EF pancake lenses, the 40 and 24 F2.8s, for full frame and crop Canons respectively. Great, discrete, inexpensive and super light lenses.

nice article, thank you 🙂

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• Lenses Travel

17 Best Lenses for Travel Photography

• Jonathan Jacoby

Last updated:

• March 11, 2024
• See comments

Travel photography can be physically and technically demanding. Not only do you need to stay on the move and maintain a certain awareness of your surroundings while utilizing your knowledge of composition to your advantage to really bring your travel destinations to life. You also need the right gear to pull it off!

This includes carrying only the greatest and best lens for travel photography. But what makes or breaks a good travel photography lens, apart from superior image quality?

Ultimately, it’s a matter of taste. Still, there are some qualities that experts and pro photographers prefer over others.

For instance, travel photography often necessitates carrying as little gear as possible and working only with natural light. That’s why excellent low-light performance is a hallmark of any high-end lens for travel photography. And that’s just one example!

In this guide, I’ll explain many of the key features and attributes that make up a perfect travel lens. Further down below, I will also make some recommendations on the top lenses for travel photography available today for different camera systems.

The Meaning of Focal Length in Travel Photography

Focal length affects the effectiveness and usability of a camera lens for travel photography in just about every way. The most fundamental of these is ergonomics.

Too long of a lens will be unwieldy to use in tight spaces. At the same time, a wide angle lens might not offer the kind of secure grip and stability that you’re after.

But the tradeoffs between focal lengths go much deeper than that! Let’s take a look at how and why in the following segments.

An Intro to Crop Factors and Sensor Sizes

You’re probably already aware of the term “crop factor” in relation to different digital sensor sizes and their effects on images. But what exactly is the crop factor about? And how does a crop sensor camera render photographs differently from a full-frame camera?

The answer is actually pretty simple. Focal length being equal, a larger sensor will always render photography with a wider field of view, greater dynamic range, and a shallower minimum depth of field than a smaller sensor.

The most important takeaway from this is that a 50mm prime lens on a full frame body will produce a different (more “normal”) perspective than on APS-C format (where it will be more like a short telephoto lens).

The “crop factor” is just a factor by which you multiply your lens’ focal length to arrive at the focal length you would need to use on full frame to achieve the same perspective and FOV.

For APS-C, the factor lies at an easy-to-remember 1.5. Because a Micro 4/3 sensor is even smaller than that, its crop factor is 2.0. Hence, a 50mm lens behaves as a 100mm would on full-frame, and so on.

Here is our guide to understanding the difference between crop sensors and full frame cameras .

Pros and Cons of Different Sensor Formats

All of that can be both a boon or a burden depending on your needs.

Travel photographers who specialize in wildlife or event photography, for instance, might prefer the more “zoomed-in” look that smaller sensors provide. It allows them to carry a shorter lens to get the same level of reach that they would with a larger camera body.

This also cuts down on bulk, making for a more luggage-friendly setup.

On the other hand, working professionals who often have to dabble in landscape photography, street photography, or similar genres might find it difficult to achieve truly ultra-wide angle shots with the limited FOV that comes with a crop sensor.

Take a note to assess the benefits and disadvantages of this fact yourself to see which sensor size is best for your travel photography needs.

Using a Telephoto Lens for Travel Photography

Lenses with longer focal lengths are commonly used in travel photography, where portraiture , animal photography, and faraway subjects play a key role.

This mostly includes 80mm and above on full frame bodies and 50mm and above on APS-C.

Telephoto lenses are great for their ability to home in on distant details. They also flatten out and minimize certain optical features and distortions, which again makes them preferable for portraiture.

The downside is that dedicated telephoto lenses are large, bulky, and more difficult to carry than other kinds of lenses. Longer lenses are also much slower on average than shorter ones – finding that elusive 200mm f/2.8 is possible, but it’s going to cost you an arm and a leg, whereas 28mm f/2.8 options are plentiful and relatively cheap by comparison.

In practice, this means that using a telephoto lens for travel photography in low natural light can be very difficult without the help of a flash gun or other additional equipment.

The Value of a Wide Angle Lens

The complete opposite of longer camera lenses is a wide-angle design, generally of a focal length of 35mm or less on full-frame sensors.

These lenses can be produced in an extremely compact form factor which makes them handy and perfect for candid, fast-paced travel photography. They also cover a very wide field of view which can be useful for documenting landscapes and cityscapes and even for close-up portraits on location outdoors.

In the past, a moderately fast wide angle prime lens, in addition to a normal lens of about 50mm (full-frame FOV equivalent) and telephoto was an absolute must-have in every serious travel photographer’s camera bag.

Nowadays, there is an alternative that has seriously challenged that traditional paradigm.

The Convenience and Usefulness of Zoom Lenses for Travel Photography

The zoom lens is a fairly recent innovation, having only been in mass production since the 1960s and only having really supplanted the use of many different prime lenses since the beginning of the century.

The reason why the market eventually swung in favor of zoom lenses is self-explanatory. They combine the fields of view and perspectives of multiple lenses into one, saving a lot of space from any travel photographer’s camera bag.

However, there is also an equally good reason why this shift has taken so long.

First of all, zoom lenses that cover a very wide focal length spectrum (sometimes called a superzoom lens) are optically very hard to design. This is because the more a lens is capable of zooming, the more artifacts, distortions, and other optical flaws creep in, which have to be corrected.

The most straightforward way of implementing such corrections is by the inclusion of more specialized glass elements. Oftentimes especially nowadays, these elements will be specially coated, cut in an aspherical fashion, and made with rare earth-based materials.

Optically, this can bring amazing results. However, it dramatically increases bulk and cost. It gets even worse when a superzoom design has to be both optically stable and provide a fast aperture.

Therefore, the classic choice has always been between the cheap and small do-it-all zoom that optically pales in comparison to even bargain bin prime lenses, or alternatively the jack-of-all-trades professional superzoom that drains both the muscles and the wallet.

Thankfully, the advancement of modern optical science and technology has allowed for many zooms to be practical enough to serve as frontline lenses for working travel photographers, and I included some of the best of these in today’s roundup below!

Choosing the Best Camera Lens for Travel Photography is a Personal Matter

Before we dive right into the specifics of what makes certain lenses a better choice for travel photography than others, I would like to reiterate the value of personal preference.

Simply put, nobody can tell you what the “best lens” of any kind really is in objective terms. Travel photography simply covers too broad of a scope, with way too many disciplines and skill sets to focus on.

Maybe you mostly shoot landscapes on your travel adventures. In that case, super-fast apertures and lightning-fast autofocus probably won’t interest you.

However, the opposite is true should your needs and workload overlap more with those of classic photojournalism .

Some may say that all personal preference aside, optical quality, or the balance between optical quality and price, should be the main concern when choosing a travel lens.

That is a valid point, of course. The problem is that throughout the history of photography, what constitutes “good” optics has changed a lot!

You might not want your favorite, go-to travel lenses to be the sharpest in the whole world, and that’s okay. You might not need a super-compact pancake prime. In fact, I know plenty of photographers who purposely tend to go for larger, bulkier lenses because they prefer those kinds of ergonomics.

In the end, I am just a guy with a camera like anybody. So take my advice with a grain of salt and try to apply it to your own needs and requirements first before acting on it!

Top Wide Angle Prime Lenses for Travel Photography

To kick off this round-up, I am going to take a look at some of the finest wide angle prime travel lenses by lens mount and camera system. No matter where your brand loyalties lie, there is going to be a top-ranking pick for you!

While wide angle primes are becoming a less common sight, they still serve an important purpose for the discerning travel photographer.

They capture a wide field of view and do so while being many times more compact and lightweight than their wide zoom lens counterparts.

Often, their maximum aperture is also much faster than that of comparable zooms, which makes them the only serious option for outdoor photography in low light.

Sony Zeiss Distagon T* FE 35mm f/1.4

With a mouthful of a name like that flaunting none other than Zeiss’ magic fingers involved in its design, it’s no wonder that the Sony Zeiss Distagon T* FE 35mm f/1.4 is a top-flight performer.

Thanks to excellent sharpness, wonderful bokeh rendition at larger apertures, class-leading low-light performance, and very few if any real optical flaws, this is a universally appreciated and desirable lens considered one of the best primes in the Sony FE lineup.

The main downsides of this lens are that it is quite bulky, heavy, and expensive.

The more compact Sony Zeiss Sonnar T* FE 35mm f/2.8 is a similar though much more portable lens at two stops slower of a maximum aperture and can often be had for half the price of its bigger brother.

Sony Zeiss Sonnar T* E 24mm f/1.8

Just as with Sony’s flagship FE full frame lenses, the cream of the crop of its E-series APS-C lineup is also designed in collaboration with Carl Zeiss.

The optical characteristics of this 24mm Sonnar-type lens are very similar to the 35mm-focal length variant I mentioned above. It features an extremely close minimum focusing distance of only 18cm while incorporating all the optical goodies of its full frame brethren like ED and aspherical glass and fully internal focusing.

However, the fast aperture combined with a much wider focal length (equivalent to the FOV that a 35mm lens gives on full frame) makes this the better choice for an APS-C camera.

If you really want to maximize the carry-anywhere factor and aren’t opposed to going wider than 24mm on a crop sensor, then take a look at the Sony E 20mm f/2.8 .

A truly fast pancake ultra-wide angle lens like this is rare, and Sony’s example is even relatively affordable! No wonder it’s quickly becoming a darling among travel and street photography pros worldwide.

Nikon 28mm f/1.4E ED

One of the shining jewels of the swansong era of Nikon’s legendary F-mount lens lineup, the 28mm f/1.4E ED is a revamp of the similar 28mm f/1.4D from the 1990s.

Like its predecessor, it’s an optically stunning and physically massive wide angle lens suitable for travel photography and documentary genres in every lighting condition.

Its super-sized maximum aperture has also made it popular among portraitists who don’t favor the traditionally more common choice of a short telephoto lens, preferring to get up close and personal with their subjects.

Those who would prefer to pack light should instead look at the Nikon AF-S 24mm f/1.8G ED . Smaller, much easier to carry, just a smidge wider, and just two-thirds of a stop slower, it’s an excellent alternative, particularly for beginning photographers who don’t want to invest too much into a relatively niche wide angle prime travel lens right away.

Nikon Z 20mm f/1.8 S

The Nikon Z mount is the youngest among the mainline mirrorless camera lens lineups today, and as such it is understandable that the Japanese giant chose to focus on quality over quantity instead of playing catch-up with its competition.

What that mindset has created is a fine lineup of a few outright excellent wide angle prime lenses for Z mount. The most lauded of them all is the Nikon Z 20mm 1/1.8 S , an expensive but optically stunning fast prime with extremely snappy autofocus capabilities and a focal length that is very usable on both full frame and crop sensor bodies.

For street photography aficionados who prefer something a bit more incognito, I recommend the Nikon Z 28mm f/2.8 . It’s neither as ultra-wide nor as hyperfast as its bigger brother, but it excels in cramming a ton of good glass into a minuscule package that you can keep on your camera all day long.

Canon EF 24mm f/1.4L II USM

With a fast aperture and a perfect middle-of-the-road focal length that is perfectly suited to crop sensor as well as full frame cameras, the Canon EF 24mm f/1.4L II USM is designed as the flagship wide angle prime lens of the EF DSLR line.

It succeeds in this role thanks to excellent sharpness, low light capability, and real class-leading build quality and ergonomics that rival the best that Nikon and Sony can offer.

Like other superfast wide angles, it is a bit on the larger side. Those who would like to achieve a similar FOV with a lot less metal sticking out of their camera should take a look at the EF-S 24mm f/2.8 STM .

A real pancake, it’s only two stops slower and features similar optical characteristics, making it one of the most useful Canon lenses in its focal range.

Top Normal Primes for Travel Photographers

Unlike wide-angles, whose optical formulas need to be quite complex to maintain distortion-free high image quality, a normal prime is one of the most ancient and simplest formulas to produce.

This makes normal primes many things – cheap, plentiful, fast, exceedingly sharp, and easy to handle. I’m of the opinion that any travel photographer should own a little “nifty fifty” as the simplest kind of walkabout lens.

Not only is it fun to use, but a fixed 50mm (full frame equivalent) is also a hugely versatile lens, perhaps one of the most versatile you can spend your money on!

Nikon AF-S 50mm f1/.8G

Descended from a long line of similar f/1.8 “nifty fifties”, the Nikon AF-S 50mm f/1.8G is not just one of the stalwart brand’s best. It is also their cheapest.

For about 50% more, you can invest in the similar AF-S 50mm f/1.4G . However, I would only recommend the move if you have the money to spare and you really need the extra light that the wider aperture gives you.

The basic 1.8 model is just about excellent in terms of optics and deserves its title as one of Nikon’s most popular lenses ever!

Fujifilm XF 35mm f/2R WR

The Fujifilm X System is chock-full of amazing prime lenses, and the XF 35mm f/2R WR is one of the best examples of that fact. Because the X System is APS-C-only, a 35mm lens is a much better choice for a walkabout normal prime than a 50mm.

This particular lens excels because it ticks every imaginable box at a more than reasonable price point. It’s small, light, and exceptionally well-made, with snappy controls and quick, silent autofocus.

What’s more, it’s plenty fast for its focal length, making it a good choice for portraiture and moderate low-light photography, too! As a nice bonus, this lens also features full weather sealing for use on any of the pro-grade Fujifilm X System bodies.

Sony FE 50mm f/1.8

Though it’s not as tiny as some alternatives, Sony’s 50mm f/1.8 more than makes up for that fact with its fast aperture, excellent sharpness, and low price.

There is little to fault with this lens, optically or otherwise. Despite its entry-level nature, it feels just as nice in the hands as any of the brand’s more upscale models, making it the perfect gateway into the Sony mirrorless system.

Canon RF 50mm f/1.8 STM

When the Canon EOS R mirrorless camera system came out, it made a big splash in the world of photography.

Much of that had to do with the inherent innovation and high performance of the new design, but unfortunately, Canon R lenses and cameras also acquired a reputation for being prohibitively expensive.

To fix this problem and allow more young photographers to switch from existing DSLRs to the new R lineup, Canon devised a classic, cheap nifty fifty in the form of the RF 50mm f/1.8 STM .

There’s nothing more to say about the lens other than that it worked on every level that Canon was hoping for. It’s sharp, it’s fast, it’s genuinely affordable, and it does everything it’s meant to do while looking good, being reasonably well-built, and having fun. Bravo!

The Top Telephoto Primes for Travel Photography

As with wide angle lenses, the advantages of telephoto primes over a zoom lens are mainly that they are capable of the same (or superior) image quality at a lower cost and weight as well as at a smaller size.

This makes them particularly relevant to the modern travel photographer who might only require the telephoto end for a few occasional portraits or other specialist shots, not for the bulk of their work.

Sigma 56mm f/1.4 DC DN C

Available for both Micro Four Thirds, Sony E, and Fuji X Mounts, this telephoto lens by Sigma stands out as one of their recent best.

Its excellent sharpness, wide aperture, and sturdy construction are impressive on their own. But what really sets the bar high with this lens is how affordably Sigma manages to market it while making it available for multiple different camera systems, no less!

Yes, there are some higher-quality options with slightly faster apertures of f/1.2. But for the vast majority of photographers who need a reliable, (somewhat) pocketable, and optically solid telephoto lens for travel, this is it.

Nikon Z 85mm f/1.8 S

One of the more affordable recent offerings for Z-mount, the Nikon Z 85mm f/1.8 S is a mid-size telephoto prime with a fast aperture that’s perfect for portraiture on the move.

Its autofocus system lags a bit behind that of its more expensive siblings, but for anything short of very demanding use in sports and action photography, it should suffice.

Simply put, this is a no-nonsense portrait telephoto option for anyone working with the Nikon Z mount in APS-C format or full frame.

Sigma DG HSM Art 50mm f/1.4

Available for multiple lens mounts, including Nikon’s F mount, Canon’s EF, and Sony’s E and A mounts, the Sigma DG HSM Art 50mm f/1.4 is a benchmark for modern crop-sensor telephotos.

It’s a complex optical design with a whopping 13 elements in 8 groups, giving it an incredibly balanced optical profile nearly entirely devoid of aberrations or distortions.

The main thing that the Sigma DG HSM Art 50mm f/1.4 sacrifices in favor of these admirable qualities is price – that might sound a bit counterintuitive for a 3rd party lens like this, but those are the times we live in!

Sigma has since expanded on the high-end performance of this 50mm with a whole family of similar “Art” lenses, many of which are also great choices for travel photography.

The Top Zoom Lenses for Travel Photography

With all that I have said about fixed focal length camera lenses so far, there is no denying that the real deal in convenience lies with zooms.

Whether just to cover the tricky wide end to save on glass or to replace an entire camera bag all at once, a well-made zoom lens with an appropriate zoom range for your needs can very well be one of the best lenses for travel photography, period.

Nikon AF-S FX 24-120mm f/4G ED VR

The modern successor to the original 24-120mm f/3.5-5.6D from the 1990s aka “the Streetsweeper”, this jewel carries on the mantle of one of Nikon’s most versatile walkabout zooms.

Now equipped with built in image stabilization (Vibration Reduction or VR in Nikon lingo) and a constant maximum aperture, the 24-120mm is niftier than ever. Optical performance remains above average to excellent as before, depending on which part of the zoom range is most important to you.

Note that this isn’t meant to be a benchmark lens in terms of optics but rather a usable do-it-all that combines its impressive zoom range with enough character and extra features to stay on your camera all day.

Canon EF 24-105mm f/4 L IS USM

This is Canon’s spin on the “Streetsweeper” lens concept. Compared to the Nikon alternative, this lens is built tougher, larger, and heavier, with a zoom range that tops out a little bit short.

On the other hand, optical quality is a lot more uniform here, with fewer distortions, especially towards the ultra-wide end.

Thanks to the same f/4 constant aperture, image stabilization, and silent, worry-free autofocus as its rivals, the Canon EF 24-105mm f/4 L IS USM manages to be a serious contender in this tightly packed field of travel camera lenses.

Fujinon XF 16-80mm f/4 R OIS WR

Equivalent to a 24-120mm on full frame, the Fujinon XF 16-80mm f/4 R OIS WR is a perfect showcase of how to adapt a formula like the above to an APS-C lens.

Small, lightweight, yet loaded with all the goodies you would expect from larger pro lenses, such as a constant max aperture, it’s among Fujifilm’s most usable do-it-all lenses for travel.

Unlike some of the faster constant-aperture zooms by Fujifilm, this one is also fully stabilized – another bonus that many travel photographers will surely appreciate!

Sigma 14-24mm f/2.8 DG HSM

Travel-friendly ultra-wide zoom lenses are difficult to design and manufacture, but Sigma managed to wow the industry with its fast 14-24mm f/2.8 DG HSM .

It’s not the most affordable lens by a stretch, but you can’t fault its quality whatsoever.

The big names like Nikon and Canon have their own in-house 14-24mm designs, but the Sigma manages to be fairly competitive in terms of optics while costing a notch less than any of them.

That, and its easily hand-holdable form factor combine to make it probably the single best ultra-wide travel camera lens at the moment.

Sony FE 24-240mm f/3.5-6.3 OSS

Typically, travel lenses zoom within a range of somewhere between 3x and 6x to balance out complexity and optical stability with size and bulk. Nikon’s 24-120mm set the template with a 5x range that has been copied countless times by now.

With one of their latest FE-mount gems, Sony chose to double that and make a 10x superzoom lens that can replace an entire camera bag on its own.

Sure, it hasn’t got a fixed maximum aperture – that would involve ludicrous amounts of overengineering, given the number of focal lengths this thing covers.

If you can make that one concession though, Sony’s FE 24-240mm f/3.5-6.3 OSS is one of the greatest excuses to pack fewer lenses (or maybe just one, in fact) on your next trip.

I hope you enjoyed this take on the best travel-ready camera lenses available in 2024!

The selection included in this guide should contain a good fit for a whole lot of different shooting styles, camera systems, and experience levels.

However, remember that each and every photographer is different. I suggest to just trying out one lens at a time until you find one that fits you , even if what you end up with is not on this list.

Bon voyage, and don’t forget to enjoy your travels!

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• Perrin Adams
• April 6, 2024

• Daniel Wright
• April 1, 2024
• Camera Settings

• March 30, 2024

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The best lenses for video in 2024

Don't miss our guide to the best lenses for video, with budget-friendly options for vloggers, youtubers and serious content creators..

In the review

Welcome to our 2024 guide to the best lenses for video. If you’re getting to grips with vlogging, starting a YouTube channel or embarking on a journey into filmmaking, something that’s just as important as having the right camera (if not more so) is having the right lenses. However, everyone is different, and even within single mount systems, there’s no ‘one-size-fits-all’ lens that’ll suit every video creator. That’s where we come in.

At AP, we take videography as seriously as we do photography, and whenever we review a lens we look at its capability for video as well as stills. While there’s a lot of crossover between the two categories – both videographers and photographers generally want excellent sharpness, after all – there are a number of features that are particularly important to video shooters. These include silent autofocus, minimal focus breathing and built-in optical stabilisation, among other things. For a full rundown, you can scroll to the bottom of this page where we’ve put together a quick explainer.

We’ve included zooms and primes for a range of different lens mounts, and have made sure to offer suggestions for a range of budgets. If you’re still searching for the right camera for your video making, check out our guide to the  best cameras for video and vlogging . We also have a practical guide to how to shoot video for YouTube with your camera , and if it’s sound you’re worried about, check out our run-down of the best-value audio accessories for video .

The best lenses for video: our quick list

Want to cut to the chase? Here’s a quick glance at the best video lenses featured in this article: 

• Canon RF-mount: Canon RF 50mm F1.8 STM – buy now
• Nikon Z-mount: Nikkor Z 17-28mm f/2.8 – buy now
• Sony FE-mount: Sony FE 24-105mm F4 G OSS – buy now
• Nikon Z-mount (DX):  Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR – buy now
• Micro Four Thirds: Panasonic 10-25mm f1.7 Leica DG Vario-Summilux ASPH Lens – buy now
• Micro Four Thirds: Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro – buy now
• L-mount: Panasonic Lumix S 18mm F1.8 – buy now
• Sony E-mount: Sony E PZ 10-20mm F4 G – buy now
• Fujifilm X-mount: Fujinon XF 10-24mm F4 R OIS WR – buy now
• Multiple mounts: Samyang 85mm T1.5 VDSLR AS IF UMC II – buy now
• Sony FE, L-mount: Sigma 85mm F1.4 DG DN Art – buy now
• Fujifilm X-mount: Fujinon XF 18-120mm F4 LM PZ WR – buy now

Read on to learn more about the best video lenses to buy, and don’t forget to check out our guide to the best cameras for video, vlogging and videography .

Canon RF 50mm F1.8 STM

Amateur Photographer verdict

• Tremendous value for money
• Knurled focus ring offers secure grip
• Super compact
• No AF/MF switch
• Focusing isn’t completely silent

At a glance:

• Mount:  Canon RF
• Focal length: 50mm
• Lens construction: six elements in five groups
• Max aperture: f/1.8
• Closest focusing distance: 30cm
• Price: $159 / £199

Canon’s ‘ nifty fifty ’ lenses have been highly acclaimed for years by photographers using the brand’s DSLRs to shoot stills and video, but with Canon’s introducing a full-frame mirrorless range with cameras like the EOS R6 and EOS RP , a new version was needed. The result is the RF 50mm f/1.8 STM – a lens that balances price, size and a fast maximum aperture beautifully to produce a must-own optic for Canon video shooters.

Measuring 69.2×40.5mm and tipping the scales at only 160g , this lens will balance nicely with cameras like the EOS R6 when paired with a gimbal like the Ronin-SC. The 50mm will give a natural perspective close to that of the human eye and the lens features Canon’s STM motor technology for fast autofocus that will be quiet and won’t pick up on your audio track.

The RF 50mm enables videographers to capture frame-filling footage of smaller subjects thanks to a closest focusing distance of 30cm and features Canon’s Super Spectra Coating to enhance quality. The 50mm lens is also great for talking head video.

Read our Canon RF 50mm F1.8 STM Review

Nikkor Z 17-28mm f/2.8

• Good price and balance for an f/2.8 lens
• Image quality excellent throughout zoom
• No built-in stabilisation
• Paucity of on-body physical controls

At a glance: 

• Mount:  Nikon Z
• Focal length: 17-28mm
• Lens construction: 13 elements in 11 groups
• Max aperture: f/2.8
• Closest focusing distance: 19-26cm
• Price: $1,196 / £1,079

The Nikon Z system now includes plenty of cameras with impressive video spec, from the mighty Nikon Z9 and its 8K 30p recording capabilities, to the affordable and vlogger-friendly Nikon Z30 . There’s no shortage of excellent Z-mount lenses to choose from when it comes to crafting a video setup, but we’ve opted for the well-balanced Nikkor Z 17-28mm f/2.8. More affordable than you’d expect a zoom with a constant f/2.8 aperture to be, the lens is weather-sealed with a robust construction . There aren’t many on-body controls to speak of, though the focus ring can be assigned to control a preferred function when autofocus is engaged.

While the Z 17-28mm doesn’t have Nikon’s premium S-Line designation, we found it to be a very respectable performer nonetheless. Sharpness is consistent throughout the aperture range as well as the whole of the zoom. Focusing is very quick and practically silent . Flare is controlled-for very nicely too, so you shouldn’t have too many problems shooting into the light. It’s a lens that mostly just works, and keeps out of the user’s way.

The only real issue that might give some video shooters pause is the lack of built-in image stabilisation . If you’re using a full-frame Nikon Z camera, this won’t be a problem as you’ll have the camera’s built-in IBIS. The APS-C models, including the vlogger-focused Z30, lack stabilisation, meaning you’ll likely need to invest in a gimbal.

Read our Nikon Nikkor Z 17-28mm f/2.8 review .

Sony FE 24-105mm F4 G OSS

• Exceptional quality throughout zoom range
• Optical stabilisation
• Lightweight build
• Zoom ring is a little small

At a glance: 

• Mount:  Sony FE
• Focal length: 24-105mm
• Lens construction: 17 elements in 14 groups
• Max aperture: f/4
• Closest focusing distance: 38cm
• Price: $1,268 / £999

This stalwart, do-everything zoom for full-frame Sony cameras has been around since 2017, and it’s still an excellent choice for Sony shooters looking to capture video. The  broad, flexible zoom range running all the way from a wide 24mm to a telephoto 105mm means you’re covered for the vast majority of shooting situations you’re likely to encounter, while the  constant f/4 aperture  means you’re never forced to stop down when zooming in. It’s also impressively lightweight , at 663g, is much more affordable than professional zooms, and has optical stabilisation .

All very well, but how does it perform? Well, we first published our review of this lens in 2017, and have revisited it a few times since then – and we’ve always come away impressed. Optically, this lens is still an absolute stunner, delivering excellent sharpness all the way through its zoom range, from corner to corner . The kind of compromise you normally have to put up with when picking a 24-105mm instead of, say, a 24-70mm just isn’t evident here, and it’s very hard to imagine a Sony user who wouldn’t be happy with the performance of this lens.

The autofocus is fast, reliable and – crucially – silent , so you won’t have your video’s sound compromised by whirring motors. Switch to manual focus and you’ll also find an excellent experience, with a smoothly rotating focus-by-wire ring. Both this and the zoom ring rotate smoothly and have rubberised coverings that grip well. One thing worth being aware of for video users is that the zoom ring is on the small side , which can make it a bit trickier to pull off smooth zoom transitions while recording. This isn’t a ruinous issue – and practice definitely makes perfect. It’s just something to be aware of.

Proof, if proof were needed, that great design has real staying power, this seven-year-old zoom lens represents fantastic value for Sony FE-mount users. For an all-in-one lens to capture great video content in a range of situations, it’s hard to think of a better option than this.

Read our full Sony FE 24-105mm F4 G OSS review .

Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR

• Optimal feature-set for vlogging
• Built-in stabilisation
• Power zoom and silent autofocus
• No on-body control buttons
• Mount:  Nikon Z (DX)
• Focal length: 18-42mm (equivalent)
• Lens construction: 12 elements in 11 groups
• Max aperture: f/3.5-5.6
• Closest focusing distance: 19cm
• Price: $356 / £329

If you’re using one of Nikon’s APS-C mirrorless cameras for video, like in particular the vlogger-friendly Nikon Z30, then it’s a good idea to get hold of some of the few DX-format lenses the firm has available. This is because they are more affordable than their full-frame counterparts, and designed with the smaller sensor format in mind. The Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR is touted specifically as the vlogging lens for DX-format Z-mount cameras, and as such, should be a priority to pick up if you’re shooting video on a Z30 , Z50 or a Z fc .

In testing, we appreciated the lightweight design of this lens, which makes it excellent for run-and-gun vlogging. The power zoom design means it stays balanced when you zoom in and out – useful when the lens is mounted on a gimbal. We found the focusing to be consistently fast, only starting to struggle when light levels got seriously low, and quiet enough that it’s not realistically going to produce any noise that will be caught on video. The focus transitions while recording video are pleasingly smooth, and the built-in stabilisation is effective. This is a lens that’s clearly been designed to try and make vlogging as easy as possible, and it succeeds pretty well.

Read our Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens review .

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH.

• Optimised for video
• Weather sealing
• Fixed f/1.7 aperture
• On the pricey side
• Extends while zooming
• Mount:  Micro Four Thirds
• Focal length: 20-50mm (equivalent)
• Lens construction: 17 elements in 12 groups
• Max aperture: f/1.7
• Closest focusing distance: 15cm (AF), 12cm (MF)
• Price: $1,497 / £1,699

An enduringly popular Micro Four Thirds lens, the Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH covers a useful equivalent focal range of 20-50mm equivalent. With a constant aperture of f/1.7, it’s a highly capable lens in low light, and Panasonic has also stuffed it with plenty of features to appeal specifically to video shooters.

These include a mechanism to minimise focus breathing – changes in focal length that occur when an object is brought sharply into focus. It also has stepless aperture control, and a micro-step drive system in the aperture control that keeps exposure adjustments smooth when the brightness of a scene changes. Focusing is silent, too, thanks to the inner focus drive system.

Even though it’s on the pricey side, this has proved a favourite lens among Micro Four Thirds vloggers. So much so that Panasonic later introduced something of a spiritual successor, the Panasonic Leica DG Vario-Summilux 25-50mm f/1.7 , for those who want a tighter focal length.

Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro

• Excellent sharpness throughout zoom range
• Very effective optical stabilisation
• Well constructed but not too heavy
• Expensive for a superzoom (but worth it in our opinion)
• Stabilisation needs to be paired with specific cameras for full efficacy
• Focal length: 24-200mm (equivalent)
• Lens construction: 17 elements in 11 groups
• Closest focusing distance: 15cm
• Price: $1000 / £900

This superzoom for Micro Four Thirds cameras has a claim to being one of the best lenses of its type ever made. Over the generous equivalent focal range of 24-200mm, it maintains sharpness impressively well , making it genuinely useful right the way through that range. If you’re a run-and-gun vlogger or filmmaker who wants to be able to shoot at different perspectives without constantly swapping lenses, the Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro is something of a godsend. Plus, at a little over 500g , it’s not so prohibitively heavy that you won’t be able to carry around for a day-long shoot (one of the benefits of Micro Four Thirds).

The optical stabilisation on this lens also merits particular praise – it’s amazingly effective, especially when paired with Olympus or OM System cameras that allow for Sync IS to further boost the system up to 7.5 stops of compensation. It makes the far end of the telephoto zoom much more useable hand-held than it would be otherwise, further strengthening this lens as a proposition for vloggers.

We gave this lens the full five stars in our review. It’s undeniably an expensive proposition for a superzoom, but it stands head and shoulders above similar lenses for other systems.

Read our Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro review .

Panasonic Lumix S 18mm F1.8

• Compact and lightweight
• Excellent optical quality
• No lens breathing
• Some comatic aberrations at f/1.8
• Mount:  L-mount
• Focal length: 18mm
• Lens construction: 13 elements in 12 groups
• Closest focusing distance: 18cm
• Price: $897 / £749

Another wide-angle, fast-aperture prime , but this time it’s for the L-mount, and is engineered to work well with Panasonic’s Lumix S full-frame mirrorless cameras. The Panasonic Lumix S 18mm F1.8 is something of a unique prospect in the L-mount family . Similar alternatives exist, particularly from Sigma, but they tend to be much more expensive and considerably heavier, like the superb but weighty Sigma 20mm f/1.4 DG HSM | A .

With a focal length of 18mm and an aperture of f/1.8, the Lumix S lens is well-suited for general day-to-day vlogging. It delivers plenty of sharpness where you want it, and silky bokeh in the defocused areas of an image. It has also been designed with videographers in mind and there are plenty of clever, useful features to this effect. For instance, the lens includes a mechanism that suppresses focus breathing , meaning it can automatically rack focus smoothly, without appearing to zoom in or out.

It feels like a natural companion for the lighter members of the Lumix S family: the Lumix S5 or Lumix S5 II . But it’ll pair well with any member of the range, and deliver a fast and silent video-shooting experience.

Read our Panasonic Lumix S 18mm F1.8 review .

Sony E PZ 10-20mm F4 G

• In-depth zoom control
• Well balanced
• Intuitive manual focusing
• No stabilisation
• Cheaper Sony options are available
• Mount:  Sony E (APS-C)
• Focal length: 10-20mm
• Lens construction: 11 elements in 8 groups
• Closest focusing distance: 13-17cm
• Price: $648 / £699

Sony’s ‘PZ’ designation means lenses that have a powered zoom design, rather than a mechanical one. This makes any lens with this feature extra well-suited to video as it enables a raft of features that are useful for videographers. The Sony E PZ 10-20mm F4 G can therefore hold focus on a subject when zooming , with the composition remaining appropriately centred. The zooming and focusing action is all entirely internal , meaning the lens stays balanced, making it handy for shooting on a gimbal.

Focus breathing is also minimal, which means that there will be little to no change in angle of view from the minimum focus distance up to the infinity focus setting. The minimum focus distance also stays pretty much the same, from 13cm at the wide end to 17cm at the tele end. A zoom lever on the side of the lens enables  proportional action , which allows zoom speed and intensity during video to be fine-tuned very precisely.

In our testing, we found this lens to optically perform very well throughout its zoom and aperture ranges. It’s hugely intuitive to use, thanks to extra features like the Linear Response MF , a manual focus control that makes it easy to make precise adjustments to the focusing. The only real strike against the lens is its lack of built-in stabilisation – it’ll pair best with Sony bodies that have stabilisation built in, like the  Alpha 6500  and  Alpha 6600 .

Read our full Sony E PZ 10-20mm F4 G review

Fujinon XF 10-24mm F4 R OIS WR

• Hardy, moisture-resistant build
• Effective optical stabilisation
• Lightweight
• Some low-frequency clicking of diaphragm blades (under certain conditions)
• On the pricier side
• Mounts:  Fujifilm X
• Focal length:  10-24mm
• Lens construction: 14 elements in 10 groups
• Closest focusing distance: 24cm
• Price: $999 / £949

Fujifilm users who want to shoot video have a narrower lens selection than those who use other brands. However, the XF 10-24mm F4 R OIS WR is a lens that comes recommended by Fujifilm as one of the best X-mount lenses for video, and it considerably impressed us in our review. It’s durable and weather-resistant , which is useful for on-location shoots, and its sharpness impresses throughout the zoom range.

The manual focusing experience – an important consideration for video – is first-rate on the XF 10-24mm F4 R OIS WR. The ring is finely grooved, with a fluid feel, and you can take precise manual focus control by rolling your thumb over it at any time.

A lightweight lens, the XF 10-24mm F4 R OIS WR provides an equivalent focal length of 15-36mm when mounted to one of the X-series APS-C mirrorless cameras. It’s a highly credible all-purpose lens for video, and any Fujifilm user with an inclination towards video should think about giving it some space in their kit bag.

Read our Fujinon XF 10-24mm F4 R OIS WR review

Samyang 85mm T1.5 VDSLR  AS IF UMC II

• Loads of mount options
• Geared focus ring
• Dust-proof design
• Manual focus only
• No optical stabilisation
• Mounts: Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X, Micro Four Thirds
• Focal length: 85mm
• Lens construction: 9 elements in 7 groups
• Max aperture: T/1.5
• Closest focusing distance: 110cm
• Price: $269 / £279

A purpose-built cine lens from less than £300? You’d better believe it and if you are starting to take video seriously, it could well be worth taking a good look at this Samyang optic. Available for Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X and Micro Four Thirds mounts , the Samyang 85mm is a manual focus optic that features 9 elements in 7 groups including an aspherical element.

The lens features an aperture (A) ring , although on a cine lens the aperture is prefixed with T instead (for example T/1.5) and there’s also a wide geared focusing ring , that will allow videographers to pair this up with a follow focus system, enabling precise adjustments to the focus setting.

Sporting a dust-proof design, the lens also offers Samyang’s Ultra Multi Coating (UMC) technology for better image quality and to provide protection from flare. Other features include an 8-bladed aperture to make the most of the bokeh created from that fast T/1.5 maximum aperture and a 72mm filter thread.

Sigma 85mm F1.4 DG DN Art

• Sophisticated optical path
• De-clicked aperture ring
• Bright maximum aperture
• Fixed focal length will limit real-world video use
• No focus distance marks on the barrel
• Mounts:  L-mount, Sony FE
• Lens construction:  15 elements in 11 groups
• Max aperture: f/1.4
• Closest focusing distance: 85cm
• Price: $1,199 / £999

The exceptional optical performance of Sigma’s Art series has been well-known for a while now, but what you may not be aware of is that the Art series shares a lot in common with the construction of Sigma’s Cine lenses , making them perfect for filming video without the additional price-tag.

The 85mm F1.4 DG DN Art gives videographers a lens that can capture tighter scenes and the maximum f/1.4 aperture will create an incredibly shallow depth-of-field that’ll bring a cinematic feel and a higher production value to your movies.

The 85mm f/1.4 Art lens packs in no less than five Special Low Dispersion (SLD) elements to deliver that optical quality but there’s far more to this lens than the glass because the lens also features a de-clicked aperture ring , enabling users to change aperture and balance exposure levels during a live take.

The AF system employs a stepping motor, which is optimised for both phase and contrast detection. Despite these pro features, the 85mm isn’t a lump and weighs in at 630g while offering a familiar filter thread of 77mm , which allows users to add ND filters to further control exposure levels.

Boasting dust and splash resistance, the 85mm f/1.4 Art also features an oil-repellent coating and the build features a mix of aluminium and TSC (Thermally Stable Composite) to keep the construction strong, yet light .

Read our Sigma 85mm F1.4 DG DN Art Review

Fujinon XF 18-120mm F4 LM PZ WR

• Very flexible zoom range
• Weather-resistant
• Noisy operation
• Not the sharpest
• Focal length: 27-183mm (equivalent)
• Lens construction: 15 elements in 12 groups
• Closest focusing distance: 60cm
• Price: $899 / £899

An impressively wide-ranging all-in-one zoom, the Fujinon XF 18-120mm F4 LM PZ WR is a great idea on paper, a one-size-fits-all lens to take everywhere . How does it measure up in the real world? Well, in our review we were overall quite impressed. The lens is not without its problems, but it does deliver something unique in the X-mount range  and will suit vloggers and video shooters who want to be prepared for all eventualities.

Weighing under 500g , the XF 18-120mm lens slots into a kit bag without causing much fuss. The aforementioned zoom range is hugely usefu l; some video users might wish for a little more width at the short end, but it’s still a commendable achievement. One unfortunate thing to note for video use is that the zoom mechanism is quite noisy , as is the autofocus . In most cases, it won’t be an issue, but if you’re shooting somewhere with very little ambient noise, odds are it’ll be picked up.

This power zoom lens isn’t the sharpest, but it does a good job in the optimal settings – zoom in a little and stop down to around f/5.6.

Read our full Fujinon XF 18-120mm F4 LM PZ WR review

What makes a good lens for video?

A big, wide-focus ring

There’ll be times when you’re filling scenes with a shallow depth-of-field when you’ll want to take more control over the focusing system and switch to manual focus (MF).

In these scenarios, you want to have as much physical control over the lens as possible.

Thus the lenses to avoid are ones that have impossibly thin focus rings that are very unergonomic and hard to get precise control over.

Instead, look out for optics with a big, wide focus ring that you can get a good grip of.

Better still, focus rings with a pronounced rubberised texture will further aid your hold and prevent your digits from slipping off the focus ring.

A de-clicked aperture ring

An aperture control ring enables users to change the aperture setting via the ring on the lens, rather than needing to fiddle about with the camera body’s dials or menus.

This is important because when you are capturing footage, you’ll be using a set shutter speed, such as 1/100sec.

So, in order to balance an exposure level, you’ll want to adjust the aperture instead (although you can also use ISO and ND filters to balance exposure too).

Some aperture rings are ‘clicked’, which means you feel a physical click or step as you turn the ring.

It’s more advantageous for a video-friendly lens to have a de-clicked aperture ring, that will turn freely without resistance, allowing you to balance the exposure more easily.

Stabilisation

Shaky footage is no good to anybody and while there are other options to stabilise footage – namely in-body image stabilisation (IBIS) within a camera body or the use of a gimbal so the videographer can move around while keeping the camera steady – using a lens with Image Stabilisation technology adds to your ability to keep things steady.

Most IS-enabled lenses offer the user the ability to switch the stabilisation off and on, giving the user even more control.

For the ultimate in stabilisation, pairing an IS lens with a camera body with IBIS will extend the compensation limits.

Lightweight dimensions

Big, heavy lenses are OK for video as long as you are happy to lock off the camera on a tripod, but this usually delivers static and uneventful, uninspiring footage.

If you are going to capture motion by using the camera on a gimbal, or other device, then you want to reduce the load on the gimbal motors… this means using a lightweight and compact lens.

Pancake optics are ideal – for example, Sony’s 16mm f/2.8 not only measures just 62×22.5mm but also tips the scales at a mere 67g, making it a gimbal-friendly choice for videographers on a budget.

Advanced coating

When shooting video, you’ll more than likely want to shoot a lot of ‘contre-jour’ (literally shooting ‘against the day’) shots when you shoot into the light to capture backlit subjects.

These high-contrast lighting situations can flummox inferior lenses and produce huge amounts of flare and specular highlights.

When looking for a lens that you can use for stills and video, make sure it has a decent level of coating to protect against these issues.

A fast maximum aperture

For those beautiful, shallow-depth-of-field shots that add a heavy layer of cinematic style to your footage, you’ll need a lens that offers a fast maximum aperture.

Regular kit lenses often have a variable aperture so at best, you may be able to use f/3.5, but if you zoom in, you’re more likely to have a maximum aperture of f/5.6, which won’t give you the shallow depth-of-field you’re looking for.

Instead, look for lenses that have a maximum aperture of f/2.8 or faster.

A standard to mid-telephoto focal length

One common mistake many photographers make when moving into video for the first time is to select a lens that’s too wide.

Of course, there will be times when a wider angle view will suit the scene, but going too wide all the time can leave subjects in the frame looking too small and lost.

A standard or mid-telephoto focal length, such as 50mm, is a great place to start as this focal length is similar to the natural perspective of the human eye.

A fast motor

Picking a lens with the right motor system is crucial when selecting a video-friendly optic.

Sluggish motor systems will not only struggle to keep up with a moving subject in the frame, but they will also create ‘lens hum’, which can be picked up on your microphone and ruin your audio.

By contrast, a lens with a fast, modern motor system will be quiet, fast and accurate… thus leading to more usable footage.

Familiar filter thread size

ND filters can prove useful when shooting videos as well as stills.

With your shutter speed locked in at 1/50sec or 1/100sec, it can be easy to overexpose a frame, particularly if you wish to employ a fast aperture like f/1.4 to create a shallow depth-of-field.

A video-friendly lens with a familiar filter thread size (such as 67mm, 72mm or 77mm) will mean you probably already have a ND filter (whether it be a screw-on or via a filter holder) that you can use to balance your exposure level.

Text by Matty Graham, with contributions from Jon Stapley.

Further reading :

• How to record great quality videos with your camera
• Find the best cameras for video, vlogging and YouTube
• Best video editing software, including free tools
• Best external camera screens

Follow AP on Facebook , Twitter , Instagram , YouTube and TikTok .

Matty is a professional photographer and videographer based in Lincolnshire and previously edited a number of photography magazines. Specialising in landscape imagery and video in the automotive sector, Matty’s work can be seen at mattygraham.com.

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Best Fuji Lens For Travel

What's the best Fuji lens for travel? This guide takes you through 5 top picks of the best zooms to primes to pair with your Fujifilm X-Series camera.

Camera Gear Guides | Fujifilm Lens Guides | Lens Guides | By Greg Cromie

If you use Fujifilm X-series cameras and are often on the move, this guide to the best Fuji lens for travel photography is definitely worth a read.

Whether you’re keen to shoot panoramic vistas with wide angle lenses, or prefer to get close up action shots with a zoom lens, one thing’s for certain – you’re going to want lenses with stellar image quality!

Capture stunning vistas on your travels with this super light and durable wide-angle lens.

With so many amazing Fuji lenses on offer (see them here ), it’s hard to know which ones to pick to satisfy your photography wanderlust.

To save you some time, we’ve hand-picked the best 5 options in 2024.

Let’s take a closer look.

Table of Contents

Best Fuji Lens for Travel in 2024

1. fujifilm xf 10-24mm f/4 r ois.

See More Reviews

• Lightweight
• Optical Image Stabilisation (OIS) switch
• Beautiful bokeh
• Edge-to-edge sharpness
• Balance is a little front heavy
• Not weather-sealed

It’s evident that Fujifilm develops some of the best high-quality lenses to suit all photography genres. So when it comes to choosing Fujifilm lenses for travel photography, you’re somewhat spoiled for choice.

If you’re planning on travelling to a destination with gorgeous wide vistas and landscapes, then one of your first choices for a lens is the Fujifilm XF 10-24mm f/4 ( reviewed here ). This is the best Fuji travel lens that excels in capturing gorgeous landscapes.

This is one of the first and certainly one of the widest lenses in the Fuji lineup and has a 35mm equivalent focal length of 15-36mm. Out wide at 10mm, you have the capacity to capture sweeping landscapes or wide city views.

At the closer end of 24mm, you have a relatively natural field of view for closer situations such as architecture and street work. This makes it perfect for travel photography, especially if you’re visiting amazing cities with unique details.

Regardless of the intended use, this lens will give you a great amount of flexibility.

The Fuji XF 10-24mm is one of the older of the zoom lenses on offer, however, it’s built to last a lifetime. It features a full metal body including the lens mount making it a rugged lens but not one that’s weather resistant.

For a lens of this size, it’s not too heavy, however, the weight seems to be in the front of the lens rather than balanced. The total weight of the lens is 410gm and when paired with any of the Fujifilm cameras such as the X-T3, you have a total kit weight of just under 1kg.

When supporting this lens two-handed on a Fujifilm X Series body, the weight is evenly spread.

The lens has a total diameter of 78mm and a length of 87mm. This remains fixed as the zoom function happens within the lens barrel. The filter thread has a diameter of 72mm.

Overall it’s a neat lens that won’t dominate your travel bag or day pack when you’re out and about on your travels.

The lens sits well in your hand and the aperture, manual focus and zoom rings are all easily accessible with your fingers naturally sitting in place. Each of these rings has the necessary glides with just the right resistance to prevent slippage or knocks.

The Fuji XF 10-24mm f/4 features an Optical Image Stabilisation (OIS) switch, which is great for low light shooting and handheld shooting with slower apertures.

This lens would be perfectly paired with a camera such as the Fujifilm X-T3 which does not have In Body Image Stabilisation (IBIS).

The lens performs incredibly well in the autofocus department, and due to its maximum aperture of f/4, it has great edge to edge image sharpness. Given that this lens is primarily suited for shooting wide angle and ultra-wide landscapes and scenery, you’re likely to drop your aperture down to f/8.

In lower light settings, having a maximum aperture of f/4 is not ideal – however, thanks to the OIS, you can slow down your shutter speed considerably even if shooting handheld.

Unfortunately, the Fuji XF 10-24mm f/4 does not have weather resistant sealing. This is disappointing given the zoom system is all maintained in the barrel of the lens. However, it does have a minimal focus distance of around 10″ (25.4cm) making for some fantastic and dynamic close up images.

This Fuji lens is fantastic value at just under US$1,000. The newer Fuji XF 8-16mm f/2.8 currently retails for twice that price. In this area, the XF 10-24mm f/4 is a stand out performer at an amazing price.

As mentioned, if you’re looking at travelling to some truly beautiful scenic locations and landscape photography is your jam, then the Fuji XF 10-24mm f/4 is a must-have for your travel kit.

It may not be the only lens you choose to pack, but it will be the one you’re the most thankful for when you get home and see your images.

2. Fujinon XF 18-55mm f/2.8-4 R LM OIS

• Compact & neat design
• Flexible zoom range
• Minimal distortion
• Not great for macro

If you’re planning a photographic holiday and you want to pack a lens that you could pretty much rely on exclusively, then the Fujifilm XF 18-55mm f/2.8-4 is the one!

I’m not suggesting that this should be the only lens you take – however, if you’re travelling on a budget, or you want to travel compact and light, then this kit lens is a must-pack .

The XF 18-55mm is an incredibly compact lens that has a neatly aligned barrel made of durable materials. When zoomed in, the barrel extends but not unreasonably far. Each outer element of the barrel has the same diameter and, as a result, the whole lens design is clean and neat.

The manual focus and zoom rings are comfortable with a suitable amount of grip. The zoom ring has the desired amount of glide with enough resistance to prevent the lens from extending out due to gravity or movement.

This lens is a common choice for the Fujifilm kit lenses with their premium camera bodies which you can usually find at Amazon or in the Moment Store . The lens weighs only 310gm and when paired with a camera such as the Fujifilm X-E3, the total kit weight is only 647gm.

A combination such as this makes it an incredibly appealing travel kit especially if space and weight is a premium.

Further to this, the lens has a diameter of 65mm and a filter thread size of 58mm, making it a very comfortable lens to hold and control. This lens is 70.4mm in length when at the wide zoom and 97.9mm in length at the telephoto end.

In practical terms, it would be fair to ask what makes this one of the best Fuji lenses for travel. The answer is the versatility you get for the size of the lens.

Having an 18-55mm zoom range provides you with a lot of flexibility without having to pack bigger and heavier lenses.

At the wide angle end, 18mm gives you a great focal length for anything from landscapes and beach scenes to architecture and street work.

At the 55mm telephoto end, you have far more reach to gain greater details at temples, nature reserves and travel portraits. All of this in a lens that you can comfortably carry all day on the camera of your choice.

Given its compact size and low weight, the Fuji XF 18-55mm f/2.8-4 works perfectly with any of the X Series camera bodies produced by Fuji. Regardless if you’re shooting with the Fujifilm X-H1 or the far smaller Fujifilm X-T200 , this lens will be well balanced.

Of course, if you’re wanting to go for a more compact body, then I would recommend considering either the Fujifilm X-E3 or the Fujifilm X-T30 . Both of these are brilliant mirrorless cameras that are lightweight, feature-packed and perfect for travel.

Neither this lens nor either of these suggested Fujifilm cameras is weather-resistant; so caution should always be exercised when out in the elements.

The Fuji 18-55mm has a maximum aperture of f/2.8 at the wide end and f/4 at the telephoto end. While not the widest of apertures, you have ample opportunity to create great subject separation between your foreground and background subjects.

Further to this, low light performance can easily be managed with apertures at those levels.

Fujifilm XF 18-55mm | © Bhagi Siva

Thanks to the included Optical Image Stabilisation switch on the barrel of the lens, you have greater low light control working at slower shutter speeds. Even with a Fujifilm X-E3, you can now have stabilisation available for stills and video.

As mentioned previously, the Fuji XF 18-55 is usually included with the mid-high end Fujifilm camera bodies. However, this little lens is one of the most highly acclaimed kit lenses on the market. At just under US$700, you’re getting an incredible lens that could be put to any task successfully.

In a travel setting, this Fuji lens will prove to be an excellent choice for all of your shooting needs. Regardless of your destination, you’ll be able to capture high-quality photos of interesting scenes both near and far – all with a single compact and highly functional camera with one great lens.

As another bonus, you can carry this kind of kit all day and in any setting without it becoming heavy or cumbersome.

The reasons above make it clear why this is not only one of the best Fuji lenses for travel photography, but one of the best Fuji lenses full stop. Happy travels!

3. Fujifilm XF 55-200mm f/3.5-4.8 R LM OIS

• Strong build
• Light for its size
• Quick and accurate autofocus
• Excellent image quality
• Some zoom creep
• Hunts for focus in low light

The Fujifilm XF 55-200mm f/3.5-4.8 is another incredible lens that clearly earns its seat at the table of best Fuji lenses for travel. It has very much been designed to be paired with the Fuji XF 18-55mm f/2.8-4 lens.

With this pair of lenses, you have a very comprehensive travel kit. The smaller 18-55mm lens will cover your wide angle work and this 55-200mm will cover the things you cannot reach. This will be a perfectly suitable kit to carry with you all day.

The Fuji 55-200mm has an incredibly strong build with metal and durable plastic body. The aperture, zoom and manual focus ring are well made and hug the body comfortably with no slack. Much like the Fuji 18-55mm, this lens has a very clean design that has the same diameter barrel for the length of the lens.

Given the range of this lens, it has a lot of glass elements and you would think that would make this a large and heavy lens. However, Fujifilm has been able to engineer this lens to have a minimal design, size and a short travel distance for the zoom function.

The lens has a diameter of 75mm with a filter of 62mm for attaching ND or Polarizing or other such filters and accessories .

When the lens is zoomed in at the widest, the barrel is only 118mm long. At the telephoto end, the lens only extends another 59mm to 177mm to reach the 200mm zoom range.

As the Fuji XF 55-200mm lens weighs just 580gm, you can easily pair it with a Fujfilm body such as the XT-3 and get away with a carry weight of just over 1kg.

For a flagship camera and telephoto zoom lens to be such a light combination makes it ideal for being out and about in nature. This combination makes others regard this as the best Fuji zoom lens for travel.

Attached to a Fujifilm X-T3 | © Greg Cromie

When paired with a camera such as the X-T3 (see image above), the combination forms a comfortable balance in your hand.

The XF 55-200mm doesn’t create distortion by being too front heavy or impact your ability to shoot at lower speeds or with the zoom fully out.

Each of the control rings on the lens has a nice buttery smooth travel with just the right amount of resistance. We found that, on the odd occasion, the lens extends due to gravity if held pointing down. A minor issue as you generally work out your zoom distance once you bring the camera up to your eye.

Just like the smaller XF 18-55mm lens, this one also features Optical Image Stabilisation (OIS). This is a great aid when photographing moving objects such as wildlife at the full telephoto end of the range.

Speaking of tracking subjects, the autofocus on this lens is incredibly quick and accurate.

The Fuji XF 55-200mm  is able to capture focus quickly at any focal length and ensure you achieve clear and sharp images. Regardless of the focal distance, you’re guaranteed edge to edge sharpness.

In general, the autofocus system is quite responsive and quick to secure focus with no hunting. However, in lower light settings the focus hunting starts to become more obvious. While this can be corrected to some degree with IOS, the issue is worth pointing out.

The XF 55-200mm currently retails for just under US$700 and for that, you’re getting a high performing lens that will deliver exceptional image quality.

Fuji also has on offer the optically brilliant XF 50-140mm f/2.8 that’s weather-sealed but does not have as long a range. This lens is over twice the price at around US$1,600.

If you did decide to complete your kit with this lens and the Fuji XF 18-55, you would have everything you need for a holiday adventure and never miss a shot. You’d have a wider zoom for landscapes and street work. Then you’d have the Fuji XF 55-200 to capture incredible detail in architecture or to capture wild animals on safari.

A lens of this nature, with its excellent image quality, fast focusing performance and great focal range, could be used in a number of scenarios. Travel photography is one of them. After all, you want to be able to return from your travels with the most amazing images you can get.

4. Fujifilm XF 23mm f/2 R WR

• Super small and portable
• Weather and dust resistant
• Fast and silent autofocus
• Great in low light
• Slightly soft edges when wide open
• No image stabilisation

As you know, there are many different types of travel experiences to be had. And every situation requires a certain type of lens to ensure that you capture what you want to remember. The temptation is always there to take everything just in case you don’t have the right lens and miss a shot.

What if you went in the other direction and decided to just take one lens with you – and not a zoom? Just a single prime lens!

In my opinion, the Fujifilm XF 23mm f/2 is the perfect lens to take with you when you want the most minimal kit you can carry. People will call you crazy but you must have confidence that you can make it work – in the right setting. The Fujifilm XF 23mm f/2 is the best Fujifilm travel lens to pull this off.

This is one of the smallest lenses in the Fujifilm lineup and is part of a series of re-designs that Fujifilm has carried out on a number of lenses with popular focal distances.

For example, the optically brilliant Fuji XF 23mm f/1.4 is one of the sharpest Fujifilm lenses available. It’s also one of the oldest lenses as it was one of the first Fuji primes on the market.

Recently, Fujifilm released the XF 23mm f/2 in a much smaller and weather-sealed body. This new Fujifilm lens has a unique design to it and it’s incredibly compact.

Other lenses in this re-release range are the XF 35mm f/2, the XF 50mm f/2 and the XF 16mm f/2.8. These prime lenses all have a similar retro design and size to keep the range connected.

When we say that this is a tiny lens, it really is: it has a diameter of only 60mm and a minuscule filter thread of 43mm. The total length of the lens is 51.9mm. A lens of this size would be well suited to a camera such as the Fujifilm X-T200, the Fujifilm X-T30 or even the Fujifilm X-E3.

Regardless of its size, this 23mm f/2 prime lens is incredibly well built and tough.

However, don’t be deterred if you were considering pairing this with a Fujifilm X-T3 or the new X-Pro3 . These lenses, given their retro design, look right at home on one of those flagship camera bodies. And at only 180gm, you could comfortably pair the lens to have a simple travel kit that weighs under 700gm.

Or, pair the lens with the smaller Fujifilm X-E3 and your travel kit drops to just over 500gm. With weight like that, you could hand hold your camera all day and not notice any strain or fatigue. You could get away with not having a camera bag and just keep your kit safely wrapped in your day-bag.

It’s that kind of convenience and simplicity that makes the weather resistant Fujifilm XF 23mm f/2 the best Fuji prime lens for travel  – check out the video below… but don’t try this at home!

Despite its size, the Fuji XF 23mm is a very user-friendly lens as it sports both a marked aperture ring and a manual focus ring. These are both of a suitable width to identify with your left hand and control them accurately. Even with such a narrow barrel, you don’t feel like you’re creating a claw with your hand just to turn them.

When it comes to usability, this Fuji lens has incredibly quick autofocus in both good light and in low light. In fact, it’s one of the fastest autofocus lenses in the entire Fujifilm range.

What’s more is that due to the small size of the lens, its internal glass and focus motors, it draws hardly any power from a standard Fujifilm battery.

You can get far more shots with a lens of this style than from its much bigger brother.

While this lens does not feature image stabilisation, it does have a wide aperture of f/2 that allows for great subject separation and ample light to pass to the sensor.

Plus, given it’s so light, you have a far greater chance of hand-holding this lens while shooting at slower shutter speeds.

One of the only setbacks about this lens is that it delivers slightly soft edges when shot at f/2. Stepping down to f/4 and beyond seems to remedy this issue.

The Fuji XF 23mm f/2 currently retails for under US$450 and that’s in comparison to the original XF 16mm f/1.4 which retails for double that. Enough said really, as this is incredible value for money, especially for travel photography.

It’s a daring traveller that ventures out with a single lens with a 35mm equivalent field of view. But then again, this is about as close as you can get to the view our eyes naturally gain.

There’s something compelling in being able to capture that same view – and if you want to zoom, then do it the old school way and use your feet.

Be brave with one of the best Fuji lenses for travel and be rewarded on your next adventure.

5. Fujifilm XF 18-135mm f/3.5-5.6 R LM OIS WR

• Ultra versatile range
• Optical Image Stabilisation (OIS)
• Weather sealing
• Great bang for buck
• Softness when shooting in low light
• Some focus hunting

While on the topic of only carrying one lens to shoot it all, the Fuji XF 18-135mm f/3.5-5.6 is just such a lens perfect for travel photography.

If you’re not brave enough to just get by with a single prime like the XF 23mm f/2, then perhaps you’ll feel more comfortable with a zoom like this.

The Fuji XF 18-135mm is able to cover a very wide focal length and also achieve a decent amount of reach with its zoom. So if you’re on a long trip and don’t want to carry too much camera gear but equality want to capture everything, this is the lens for you.

Having that level of flexibility is ideal in a travel situation where you’re going from amazing vistas to tight old-town alleys.

For its range, the lens is actually quite compact and has a similar design quality to the XF 18-55mm f/2.8-4.

It has a long clean barrel with no protrusions and inlaid focus and zoom rings. Being the one lens for every occasion, this beauty also features Optical Image Stabilisation (OIS) and weather sealing.

Alongside its sturdy build qualities, the weather sealing makes the Fuji 18-135mm suitable for all conditions, from rain and hail to dust and snow.

When paired with a weather resistant Fuji body such as the Fujifilm X-T3, you have a completely weather-sealed kit.

The size of this lens can be deceptive as it covers such a wide range of view. The lens has a diameter of 75.7mm and a filter thread of 67mm making it easy to obtain lens filters.

With the zoom in, the lens is 97.8mm long and with the zoom fully out it’s 158mm in length.

In terms of weight, it’s 490gm which puts it comfortably between the Fuji XF 18-55 and the XF 55-200 in size and weight. Regardless, for a lens with this kind of flexible range, it’s certainly a very compact lens.

When combined with a smaller body such as the Fuji X-T30, this lens is only slightly front heavy, but otherwise, the balance is good. When it’s paired with a larger camera such as the X-T3, there’s a more accurate level of balance between the two.

Having said that, shooting with a lens of this nature requires two hands to control and stabilise the shot, so it would be well-matched to any Fuji mirrorless camera body.

The autofocus on the Fuji XF 18-135mm is reasonably good as it can precisely capture subjects in all manners of light with minimal sign of focus hunt. The greatest setback for this lens is how soft the image quality is, especially when shooting in low light.

With good light and aperture dropped to around f/8, you can get great image quality with good colour rendering and sharpness. However, in low light, this lens delivers very soft image quality, which is unfortunate given the level of versatility it offers.

In developing a lens of this nature and at this price point, it’s a shame that the trade-off has to be in the image quality.

Speaking of price, the Fuji XF 18-135mm currently retails for under US$900 and given the level of flexibility it provides, this is a great value lens. Keeping in mind that it’s the only camera lens in this guide with both OIS and weather sealing and a stellar zoom range, this is money well spent.

This Fuji lens is all about versatility and when you’re travelling, especially for long periods of time, versatility is your best friend.

You don’t pack all of your jackets when you’re travelling, you pack the most versatile for the situation. Packing the best loom lens for a range of situations is the very same logic.

Final Words

Whether you’re shooting a travel documentary photo story or simply want to capture your cherished holiday moments on film, you’re going to want to take your camera along for every moment of your adventures.

To get your best shots, you need the kind of lenses that are well suited to travel photography.

On top of that, you probably want to keep your kit relatively minimal and portable – which may mean leaving things like your macro lens at home and opting for a pancake lens or a versatile zoom.

If you’re a user of the Fujifilm system, you have some incredible options in this list. Any of these will serve you well during your next travel adventures.

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I’m a Melbourne-based street photographer and blogger. I love to travel to Japan to photograph and document its dynamic people and culture.

The version of the 10-24 introduced in late 2020 is weather sealed.

Thanks for checking out my article. If you have any questions or comments then please leave them here and I will get back to you. Cheers. G

Hi, really interesting article. I’m a bit late to this one but it says 2021 so I’m going for it :-)

I’ve got the X-T30 and similar kit to the above including the 18-135 recently. I replaced the 18-55 as I thought I’d like a bit more reach but keep to one zoom lens for a compact / versatile kit.

I wondered whether you’d tried the 16-80mm? Looks good on paper – a touch lighter, a touch smaller, wider, sharper, faster – another good all in one – but with a good hit on the reach obviously.

Hi Mark, hi Greg,

Great review as usual! Travelling is really something different from the everyday photographic job, so one needs different tools. For my last trip abroad I took Fujinon 35mm f2 and Samyang (Rokinon) 12mm f2 with me. It was great and versatile, but manual focus on the latter lens is slower than the autofocus obviously. So maybe next time I would take the Fujinon 16mm f2.8 instead. BTW, sorry for being picky, but in the table at the beginning you have a terrific 23mm f2.0 lens, but the description says “Super Wide 2.8 Maximum Aperture”. So, the f value is wrong. Sorry again :-)

Hi Nikita. Thanks for your comment. I agree completely that travel gear is much different. I remember on my first trip to Tokyo a few years ago I took almost all of the lenses featured in this review. My kit bag was far too heavy and in some ways it limited my enjoyment. On my last trick to Tokyo, I only took the X-T3, 23mm f2 and the Fuji X70. Much more fun to work with the limited gear you have and make it work. I am considering taking the 16m f2.8 on my next trip too – great minds…As for the error in the table, I don’t create those so I will make sure that the person responsible is fired! Just jokes. We will get it sorted. Thanks again. G

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Best Fuji Lenses for Stunning Travel Photos (In 2024)

Trying to pick a lens to buy can be a super daunting task. I remember when I finally decided to upgrade from the kit lens that camera with my camera, and I had to do SO MUCH GOOGLING. How can you possibly decide what lens is best for you? It came with learning a ton of terminology I had never grappled with before: Aperture. Focal length. IQ (Image Quality).

There is a sea of choice and as beginners looking for information it’s hard to know what’s going to be best.

There there is the fact that lenses are expensive .

The last thing you want to have happen is that you buy a lens and then you don’t like it! 😱

I personally own and have purchased all the lenses in this guide (except one I borrowed 😁), so I can provide you with lots of sample images taken with each lens to help your decision-making process!

Read on for a guide on picking a Fujifilm lens for travel , including information on how to choose a lens based on the kind of pictures you want to capture, and my top pick if you have to pick just ONE lens .

This post was originally published in January 2019, and has been updated for Summer 2024 with the latest additions to Fujifilm’s lens lineup.

What makes a great lens for travel?

I have a few main criteria when picking lenses for travel. Any lens needs to match at least 2 of the following three criteria:

• Lightweight – You don’t want to have shoulder pain from carrying a ton of gear by hauling heavy gear around for long hours while traveling.
• Versatile – You’ll find no ultra-specialty lenses in this guide, only meant for one thing. Every lens needs to help me in a couple different ways.
• Necessary – Whether I absolutely need to pack the lens because I’ll be in a special situation, like shooting wildlife.

Hence, all of the lenses I include here are at least two of these things, and hopefully they are more like all three!

Why did I pick Fujifilm?

Back in the day when I started looking for a camera, a friend of mine who majored in Film in college unequivocally recommended that I start my photography journey with Fujifilm .

A big part of the draw is that Fujifilm focuses on mirrorless cameras , which are smaller and more light-weight than bulky DSLRs. When I know that my images will end up on this blog, rather than a billboard, I don’t need the difference between the 24 megapixels of the $1,000 Fujifilm X-T2 and the 30 megapixels of the $3,000 Canon 5D Mark IV.

I will keep my extra $2,000, thanks!

And in turn, I have a camera that’s light enough to pop in my day bag without me noticing the weight.

That can be a huge benefit when you’re traveling, because the last thing you want to do is leave your camera in your room because it’s too heavy and you don’t want it to weigh you down.

Best Fuji Lens For Travel Photography

As I said before, I personally own or have extensively used all of these Fujifilm lenses. So you know you’re getting recommendations based on my experience!

If you have any questions about them , please LEAVE A COMMENT! I am more than happy to help you pick the lens that is going to meet your individual needs and help you capture the kind of photos you dream about 😄

Legend WR - Weather resistant (can withstand rain and below freezing temperatures). OIS - Optical image stabilization (helpful with zoom lenses to avoid blurry photos). ★ - My all-time favorite lens!

1. Fujinon XF 16mm f1.4

This is one lens that I always bring with me when traveling. A wide-angle lens is a super necessary part of the traveler’s arsenal. If you aren’t familiar with wide-angle lenses, it essentially means that you can fit more in to the picture than with a typical lens. This can be great, but it also means sometimes you need to get really close to something in order to use this lens and get the framing that you want.

Use this lens for: Landscapes, tight indoor spaces, low light photography, astrophotography, architecture.

The reason I think a wide angle lens is necessary for every traveler is because these kinds of situations are the ones we encounter a lot.

• Want to get that beautiful mountain landscape? Wide angle.
• Want to photograph that impressive church or parliament building? Wide angle.
• Want to capture people in the context of an landscape, instagram-style? Wide. Angle!
• “Follow me” style portraits? If that’s what you want, you need a wide angle!

There are a lot of shots you just miss if you don’t bring a wide angle lens.

What makes this lens special This lens can focus very closely and has a very wide aperture. What it means is you can get bokeh (blurry background) from a wide angle lens by getting close, which is not a very common thing at all. The wide aperture also makes it a great candidate for night photos, I’ve used it to take plenty of photos of stars and northern lights!

My best tip for using a wide-angle lens is GET CLOSER any time you are using it and you are not shooting a landscape!

If you’re still not sure, you can read my detailed Fujifilm 16mm f1.4 review for more sample images and an in-depth look at this lens.

Alternatives: Fuji’s other wide-angle lenses

Prime lenses : These lenses don’t zoom, but are often lighter and more compact than their zoomable counterparts. Fuji is known for its primes, and you can save hundreds of dollars if you don’t really need the f1.4 aperture and can sacrifice a little sharpness.

• 16mm f2.8 WR – Very affordable alternative to the 16mm f1.4 which was just released last year (in 2019). Weather resistant, compact, and has consistently great reviews .
• 14mm f2.8 – Has a wider angle but is not weather resistant. A good option for astrophotography or taking pictures of the northern lights.
• 18mm f2.8 – Affordable and compact wide angle lens, but not weather resistant.

Zoom lenses : Fuji has a number of wide to mid-range zoom lenses. There are a few besides these, but these are the most modern and/or the ones with the best quality. You can find them at an entire range of price points as well.

• 16-55mm f2.8 WR – Considered the highest quality wide-to-midrange zoom in Fujifilm’s lineup. Weather resistant, though a little bit on the heavy side. With the the latest Fujifilm camera bodies you can even bundle this lens as your kit lens for a steal.
• 10-24mm f4 – Possibly the best lens for landscape photographers. Super versatile because it’s a zoom, but only f4 which is not really enough for low light. It does have optical image stabilization (OIS), which will help with handheld shots.
• 16-80mm f4 WR – Fuji’s newest zoom offering (as of January 2020). Reviews for this lens are, however, mixed at best. Many are waiting for firmware updates to see if some of the key focus issues are resolved. Has optical image stabilization (OIS).

The reason I chose the 16mm f1.4 over these lenses is I wanted to be able to take low light photos , for example photos of the northern lights or stars. But, still have the flexibility of a lens that isn’t “ultra wide”. Any of these cameras can also take low-light photos, but you’ll need to hold the shutter open for longer, which could mean the stars have moved. Plus, since it’s weather resistant, I can use it in rain, snow, and winter which is important for me!

Check current price for Fuji's 16mm f1.4 on Amazon

2. Fujinon XF 35mm f1.4

I’ve owned this lens for a couple years now, I’ve added new lenses to my kit in the mean time, but none of them really displaced the 35mm lens as being my favorite lens I own .

It’s not just me – a lot of people say that the 35mm f1.4 lens by Fujifilm is the standard by which all other lenses should be judged. It’s super sharp, has gorgeous bokeh, and the image quality is just really, really beautiful. You can take a picture of garbage with this lens and it will look like magic. Seriously.

Use this lens for Everything! This is my all-time favorite lens.

The first big trip I took this lens on was Japan, where I was still using a super low-end camera that didn’t even have a viewfinder – meaning, I was composing all my photos by looking at the LCD screen. Even with the low-end camera body (and the very sad fact that I did not shoot in RAW :sad:), I captured so many beautiful photos in Japan.

The fact that these photos look so good is a testament to the fact that the lens matters more than the camera when it comes to getting great shots. Yes, having both is best, especially in extreme conditions (low light or fast-moving subjects) but in 90% of travel scenarios, the lens is what is responsible for the beautiful image.

Now, this lens is one of the oldest lenses that Fuji makes. So you need to be aware that it has some drawbacks – it is slower and louder to focus than more modern lenses. It’s simply a fact that technology has progressed since this lens came out.

For me, even with those two facts, I love the images created by this lens so much that I don’t mind. It normally doesn’t affect me at all, but you should be aware that more modern “versions” of this lens like the Fujinon XF 35mm f2 have greatly improved on these issues. That said, I take the f1.4 over the f2 any day!

Alternatives The Fujinon XF 35mm f2 is a very good alternative to this lens. It’s fast to focus, compact, weather sealed, and costs about $200 less. The question for you is whether you are really looking for that extra magic from the original lens – something only you can decide!

Check current price for Fuji's 35mm f1.4 on Amazon

3. Fujinon XF 23mm f2 WR

I originally bought this lens for an upcoming trip to Iceland during the winter, because I knew that I needed to have more than one weather-resistant lens. I already owned the 16mm lens, but I needed something that would be useful for everything in between.

This lens has a couple of key benefits: it focuses really fast and quietly (meaning, great for snapshots but also video), it’s very lightweight, and of course it is weather resistant so you can feel safe using it in rain and snow.

Use this lens for Just about everything!

Here you can see the snow is falling everywhere and I am basically unconcerned about using this camera in very low temperatures. Officially, Fujifilm’s weather resistant cameras and lenses operate as low as -10°C / 14°F. I’m not sure if I’ve gone lower than this before, but with the wind and cold it would not surprise me (especially when I was out photographing northern lights, brrrr!)

The two most classic focal lengths are the 23mm and the 35mm on a crop sensor. That’s because these lengths are very versatile – in fact, 23mm is considered to be the same as the human eye, making the photos feel natural in what they contain.

The fact that the Fujifilm 23mm XF f2 lens has a maximum aperture of f/2 means that it’s much lighter than anything at f1.4, just because it takes a lot more glass to accomplish wider apertures. That said, f2 is perfectly good for a lot of low light photography. Check out this slightly longer exposure of the parliament building in Budapest.

Alternatives The main alternative is the 23mm f1.4 lens, which is an absolutely gorgeous lens. If you are looking for a lens that is a little bit wide angle but can still do very low-light, it is a great option. Unfortunately that lens is not weather resistant, so you can’t take it everywhere you can take the 23mm f2.

Check current price for Fuji's 23mm f2 on Amazon

4. Fujinon XF 50-140mm f2.8 WR LM OIS + 2x Teleconverter

I’m not going to lie, this lens is a bit of a beast. It’s larger than my head (though that’s not to say I have a particularly large head). That said, I’m not a big girl, and I had no trouble wielding this lens while I was on safari to take wildlife photos. Yes, the lens is heavier than any of Fujifilm’s prime lenses, but there are photos you can’t capture without it . Cropping a photo can only get you so far. If you’re going somewhere in nature where you think you’ll see some animals, I can’t recommend anything more than to bring a powerful zoom lens with you.

Use this lens for: Wildlife, safari, nature, portraits

This photo shows BOTH the 50-140mm attached, as well as the 2x teleconverter. Without the teleconverter, it would be about 2 1/2 inches shorter.

How does a teleconverter work? A teleconverter is basically like a smaller lens that you attach to an existing lens. It’s going to allow that lens to zoom in further, but it also reduces the amount of light getting into the lens. For example, if you attach a 2x teleconverter to the 50-140mm f2.8 lens, the lens will have the reach of 100-280mm f5.6. This is a great way to be able to zoom in twice as much as you could before, but do be aware, teleconverters are expensive and basically cost as much as a smaller lens themselves!

Did you know? Zoom lenses with a longer focal length (meaning, bigger number of “mm”) are often used to take portraits? This is because they provide the face with nice proportions, and compress the background to better isolate the subject!

As you can imagine with these photos above and below, I could’ve never captured them on a different lens. But they are somehow magical in their own right, and totally worth it.

Alternatives: Fuji’s other telephoto lenses

• 100-400mm f4 is the main alternative if you’re specifically looking to shoot wildlife . The real question here is whether you want something portable or you care about getting CLOSE. For mega, mega close photos, you’re going to need the 100-400mm lens. But if you are looking for a flexible middle ground, stick with the 50-140mm.
• 55-200mm f3.5-f4.8 is probably considered the best bang-for-your-buck zoom from Fuji. Pros: Affordable, great range, great image quality, comparatively lightweight. Cons: Not weather resistant, not as wide aperture, cannot be extended with a teleconverter. It has consistently stellar reviews on Amazon and around the web despite those tradeoffs.

Check current price for Fuji's 50-140mm f2.8 on Amazon

5. Fujinon XF 27mm f2.8

Did you know that tiny lenses like this are often called pancake lenses ? Because they are flat and compact like a pancake! If you’re looking for a lens to put on your camera to bring your camera with you anywhere, this would be a great lens for that. It’s so light it feels like nothing around your neck.

Use this lens for: Street photography, sharp landscapes, keeping a low profile

But my most prominent usage of this lens is when I want to keep a low profile, and not look like I have a thousand dollars hanging from my neck. Or, I want to be able to zip up my camera under my jacket without it being too noticeable.

For example, I went to Rio de Janeiro , which is unfortunately famous for petty theft against tourists. But at least with this lens and a light jacket, I could snap some photos without looking too much like a walking target the whole time. The bigger challenge was how much I was sweating while wearing a jacket in Rio 😂

Photo taken in Rio de Janeiro on Copacabana Beach

Besides just for places where you don’t want to flash a huge camera and lens setup, it can sometimes just be nice to pack light and not worry too much about switching lenses. If I need to take just one lens, it’s probably either this one or my favorite lens (described at the bottom of this post!).

Alternatives The 27mm is not the only Fuji pancake lens available, you can also pick up the 18mm f2.8 .

Both can be good options, it just depends on whether you want to have a wide-angle lens or a more neutral focal length. Given I already own the 16mm, adding the 18mm would be too similar. I also own the Fuji kit lens which starts at 18mm, so it would be too much repetition all around.

Check current price for Fuji's 27mm f2.8 on Amazon

Compatible Fujifilm X-Series Cameras

You can choose any X-mount compatible camera. I personally use and love the Fujifilm X-T2 , which comes with me absolutely everywhere. But the Fujifilm X-T30 (linked below) has the same image quality, just slightly less performance and is not weather-resistant (which maybe you don’t really need, it depends on where you’ll travel!).

The important thing is to invest in lenses because new cameras are released every year, but lenses stand the test of time and will serve you for many years to come.

Plus, lens quality affects your photos more than the camera in the vast majority of cases. Of course, a high end lens on a cheap camera is like putting a sports car motor in a Buick, but we’ve all got to upgrade gradually so it’s totally fine!

You don’t have to spend all your money at once, just start small and pick a camera and a lens that is going to give you the photos you want. You can always upgrade over the years 😄

The latest version of the Fujifilm X-series flagship cameras

Same quality as the X-T2 but without weather resistance.

The camera I use. Still excellent and can be found at good prices.

TIP – Fuji is about to release the Fujifilm X-T4 . Unless you need the in-body stabilization or new flip-out LCD screen, you can get the same sensor in the Fujifilm X-T3 at a significant savings!

Lenses recommended in this post

As I said at the beginning of the post, these are all lenses that I have bought with my own money or (in one case) borrowed and traveled with extensively. If you have any questions , please feel free to leave me a comment and I’ll do my best to help you determine which lens is going to help you capture the travel photos you want!

Landscapes, architecture, astrophotography.

General purpose, classic, sharp, the gold standard.

Landscapes, street photography, low profile.

General purpose, versatile, everyday lens that's weather-resistent

Wildlife, safari, portraits, zoom

Extend zoom ability of the 50-140mm lens.

More Fujifilm accessories

Lenses are probably the most important piece of your arsenal when it comes to producing beautiful images. But there are also lots of other useful Fujifilm accessories that will help you capture images you can’t get without them! Keep reading this post for accessories to add to your travel photography kit .

In my 5+ years shooting with Fuji cameras, these are the best Fujifilm accessories that can help you boost your image quality and create stunning photos.

About the author

Hi there! I'm Monica, an American expat living in Germany for over six years and using every opportunity to explore the world from my homebase in Berlin. My goal is to capture my memories in photos and posts that show how easy it is to start from scratch and travel the world by working abroad.

Follow along on Instagram , Twitter , Bloglovin , & Facebook .

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9 Best Nikon Lenses for Travel Photography in 2024

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Finding the best Nikon lenses for travel photography is the best way to prepare yourself for your next adventure.

Our guide highlights the nine best Nikon lenses for mirrorless and DSLR cameras, ensuring you capture every moment perfectly. We’ve carefully selected lenses that offer both quality and convenience for travelers.

Our top picks include the Nikon Z 50mm f/1.8 S for its lightweight design and sharp images, and the Nikon AF-S 50mm f/1.8G for its compact size and low-light performance. But if these are not the lenses you’re looking for, we have seven more incredible Z-mount and F-mount Nikon lenses for travel.

If you buy a product through one of our referral links we will earn a commission (without costing you anything). Prices last updated on .

As an Amazon Associate, I earn from qualifying purchases. Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply to the purchase of this product.

What Is the Best Nikon Z Lens for Travel Photography?

When selection best Nikon Z lens for travel photography, you need to consider weight, versatility, and optical performance. These Z-mount lenses offer a balance of portability, range, and image quality, making them ideal for capturing diverse travel scenes, from bustling streets to serene landscapes.

• Exceptional sharpness, even at wide apertures
• Fast, accurate autofocus system
• Durable, weather-sealed construction
• Pleasing bokeh for portrait work
• Versatile for street and everyday photography

• Compact, lightweight design for easy travel
• Versatile zoom range for diverse photography needs
• Quick, silent autofocus perfect for video recording
• Customizable control ring for intuitive adjustments
• Effective in-body stabilization compatibility

• Constant f/4 aperture for consistent exposure control
• Professional-grade build, weather-sealed for durability
• Exceptional sharpness across zoom range
• Dual stepping motors for fast, silent autofocus
• Versatile 5x zoom for landscape to portrait photography

• Broad 18-140mm zoom range for versatility
• Vibration Reduction for sharp, stable shots
• Lightweight, travel-friendly design
• Fast, precise autofocus mechanism
• Great for both wide landscapes and detailed portraits

Our Favorite Nikon Z Lenses for Travel Photography

Let’s take a closer look at our favorite Nikon Z lenses. From prime lenses that excel in low light to versatile zooms perfect for capturing everything on your travels, there’s a Nikon travel lens here for every globe-trotting photographer.

1. Nikon Z 50mm f/1.8 S

The Nikon Z 50mm f/1.8 S is the perfect prime lens for travel photography. Prime lenses might not be as versatile as zooms, but the 50mm focal length gives you plenty of shooting options. You can shoot anything from landscapes to portraits. 

Its optical construction includes two Extra-low Dispersion (ED) elements and two aspherical elements, reducing chromatic aberrations and ensuring edge-to-edge sharpness. This makes it great for capturing detailed landscapes and vibrant street scenes.

Its f/1.8 aperture is excellent for low light conditions, giving you seriously good exposure control. It allows you to use faster shutter speeds to avoid motion blur. And it allows you to create a beautiful bokeh effect that isolate subjects in busy environments.

The Nikon Z 50mm f/1.8 S does not have built-in image stabilization, relying on the camera’s in-body stabilization. This works well in most scenarios, but in extremely low light, photographers might need to increase ISO or use their travel tripod .

A durable build that includes weather sealing adds to the lens’s travel credentials, proving that the Nikon Z 50mm f/1.8 S is the best Nikon lens for travel photography.

2. Nikon Z 24-50mm f/4-6.3

The Nikon Z 24-50mm f/4-6.3 is a compact zoom lens that’s great for travel photography. It covers a wide to standard focal range, making it useful for a variety of shots, including landscapes and portraits. Its light build means it won’t weigh you down on long days of exploring.

However, its variable aperture of f/4 to f/6.3 might not be the best in low light. This lens doesn’t have its own image stabilization. But when used with Nikon Z cameras with in-body stabilization, it still produces sharp images in most situations.

It’s surprisingly sharp for a lens in this price range. Imperfections like chromatic aberrations are kept to a minimum thanks to three aspherical and two Extra-low Dispersion (ED) elements. 

With a minimum focusing distance of 0.35 meters, it allows for detailed close-ups, adding to its versatility. The autofocus is quick and quiet, which is perfect for capturing fleeting moments without drawing attention.

The Nikon Z 24-50mm f/4-6.3 is a great option for travelers looking for a light, versatile lens. It’s a popular choice with vloggers, too. It’s a good choice if you also want to capture some travel footage. 

3. Nikon Z 24-120mm f/4 S

The Nikon Z 24-120mm f/4 S is a versatile zoom lens perfect for travel photography. Its wide focal range allows photographers to capture everything. You can shoot landscapes, portraits, and close-ups with this one lens. This flexibility is key in vibrant travel locations.

The constant f/4 aperture provides a good balance of light intake and depth of field control. It isn’t the fastest of maximum apertures. But it is constant throughout the zoom range, meaning you don’t lose any stops as you zoom in.

It’s relatively light considering the zoom range. And it’s an easy fit for any travel camera backpack . Its build is sturdy, with weather sealing that protects it in different weather conditions. This durability is essential for travel photographers who often face unpredictable weather.

The lens impresses with sharp images and minimal distortion. The crisp picture quality is due to its high-quality glass and coatings that reduce flare and chromatic aberrations.

The autofocus is quick and reliable. And the barrel has a custom control ring, giving you more hands-on control. You can use it to control ISO, aperture, or many other settings. 

The Nikon Z 24-120mm f/4 S is a great choice for travel photographers looking for a single-lens solution. Its combination of range, image quality, and build makes it a valuable companion for capturing any journey.

4. Nikon DX Z 18-140mm f/3.5-6.3 VR

The Nikon DX Z 18-140mm f/3.5-6.3 VR is the best travel lens for Nikon APS-C mirrorless cameras. Its broad focal range covers most shooting scenarios, so you don’t have to travel with multiple lenses. This makes it a practical choice for photographers looking to travel light.

The lens delivers good sharpness and controls aberrations well, thanks to its ED glass elements. And while it may not offer the low-light capabilities of other lenses, its VR system compensates by allowing for slower shutter speeds without a loss in image quality.

Weighing just 312g, it’s notably lightweight and compact. Despite its plastic construction, it includes weather-sealing features, offering some protection against the elements. This combination of portability and durability is key for travel photography, where conditions can vary.

The Nikon DX Z 18-140mm f/3.5-6.3 VR is a good option for those seeking a single, versatile lens for travel. It offers a balance between performance, convenience, and portability. And it’s an affordable option for your Nikon APS-C mirrorless camera.

What is the Best Nikon F Lens for Travel Photography?

In this section, we dive into the best Nikon F lenses for travel photography. Selected for their balance of portability, image quality, and versatility, these lenses cater to a variety of shooting conditions.

From prime lenses offering exceptional low-light performance to zoom lenses that cover a broad focal range, each has been chosen to enhance your travel photography experience without the bulk. We’ve made it easy to find a travel lens for your Nikon DSLR camera.

• Exceptional low-light performance with f/1.8 aperture
• Ideal for portraits with natural perspective
• Compact and lightweight for travel convenience
• Fast, accurate autofocus for sharp images
• Produces beautiful bokeh for professional-looking photos

• Wide f/1.8 aperture enhances low-light shooting
• Versatile for street and environmental portraits
• Lightweight design, perfect for on-the-go photography
• Superior sharpness and color accuracy
• Quick, silent autofocus for discreet shooting scenarios

• Vibration Reduction for sharp images in low light
• Quick, silent autofocus for capturing fleeting moments
• Durable build with dust and moisture resistance
• Excellent sharpness and color correction across zoom range

• Constant f/4 aperture across entire zoom range
• 5x zoom versatility for wide to telephoto
• Effective Vibration Reduction for stable handheld shots
• Robust build with weather-sealing for durability
• Excellent optical performance with minimal aberrations

• Wide focal range for versatile shooting options
• Built-in Vibration Reduction for steady shots
• Compact and lightweight, ideal for travel
• Fast and silent autofocus mechanism
• Excellent value for a broad zoom lens

Our Favorite Nikon F Lenses for Travel Photography

Now we take closer look at our favorite Nikon Z lenses. Whether you’re capturing bustling city streets or serene landscapes, there’s a Nikon F lens for you. With a section of primes and zooms, we have all the best options for your Nikon DSLR.

1. Nikon AF-S 50mm f/1.8G

The Nikon AF-S 50mm f/1.8G is the best place to start with travel lenses if you have a Nikon DSLR. Its 50mm focal length offers a natural perspective, ideal for capturing everything from street scenes to portraits.

However, its fixed focal length limits versatility compared to zoom lenses like the Nikon AF-S 24-85mm f/3.5-4.5G ED VR , which can cover wide angles to short telephoto shots without changing lenses.

With an aperture of f/1.8, this lens excels in low light, allowing photographers to shoot in a variety of lighting conditions without increasing ISO too much. This wide aperture also helps achieve a shallow depth of field, isolating subjects from the background beautifully.

It does lack built-in image stabilization. And most Nikon DSLRs don’t have sensor-shift stabilization either. But stabilization isn’t necessary with a standard focal length and such a fast max aperture. 

Thanks to its aspherical element, the Nikon AF-S 50mm f/1.8G delivers sharp images with minimal chromatic aberration. Its Silent Wave Motor (SWM) autofocus is quick and accurate, capturing fleeting moments with ease. As the name suggests, it’s also silent in operation, helping you keep a low profile.

The optical quality and portability make the Nikon AF-S 50mm f/1.8G a top choice for travel photographers. It’s a must-have lens for any traveler with a Nikon camera.

2. Nikon AF-S 35mm f/1.8G ED

The Nikon AF-S 35mm f/1.8G ED is another exceptional prime lens for travel photography. Its 35mm focal length gives you a wider field of view than the 50mm lens. This allows you to capture more in tight spaces. And it allows you to include more architectural features in your exterior images. 

With an f/1.8 aperture, this lens works well in low light, allowing for crisp images with ISO settings. It also gives you excellent depth of field control, helping you produce a blurred background in portraits or close-ups. 

This lens is quick to focus, catching fast moments with ease. It’s also sharp across the frame. The ED elements ensure high-quality images with no distortion or lens flare.

The Nikon AF-S 35mm f/1.8G ED is a brilliant prime that’s ideal for travelers looking for a wider viewing angle. It’s compact enough for any travel camera backpack. And the price is more than reasonable for a lens of this standard. 

3. Nikon AF-S 24-85mm f/3.5-4.5G ED VR

The Nikon AF-S 24-85mm f/3.5-4.5G ED VR is a versatile zoom lens travel photographers will love. Its focal length covers wide landscapes to intimate portraits, making it a single-lens solution for many.

Thanks to its ED glass and aspherical elements, the lens offers good sharpness and controls chromatic aberration effectively. While it shows some distortion and vignetting at extreme settings, these flaws are barely visible and easily fixed in post-processing.

Its variable aperture is not the best in very low light. You are limited to a max aperture of f/4.5 at 85mm, which isn’t ideal. But the lens does have built-in stabilization. This gives you four stops of exposure compensation, allowing you to shoot with slower shutter speeds. 

The lens is relatively light and compact, easing the burden during long days of exploration. You’ll have no problem stowing it in your camera backpack.

For those looking for a solid mix of versatility, image quality, and portability, the Nikon AF-S 24-85mm f/3.5-4.5G ED VR is a very useful choice for travel photography.

4. Nikon AF-S 24-120mm f/4G IF-ED VR

The Nikon AF-S 24-120mm f/4G IF-ED VR offers a broad zoom range, making it a versatile pick for travel photographers.

The lens includes elements that minimize aberrations and ensure clear and vibrant images. The inclusion of two Extra-low Dispersion (ED) glass elements and three aspherical elements helps maintain image quality across its zoom range. While some distortion and vignetting occur at extreme settings, these are manageable in post-processing.

A Nano Crystal Coating on the glass improves light transmission and reduces lens flare and ghosting. 

Its constant f/4 aperture balances light intake and depth of field control across the entire zoom range. This feature, combined with the lens’s Vibration Reduction (VR), helps you capture sharp images in varied lighting conditions.

However, its weight might be a consideration for those who prefer lighter gear when traveling. The build quality is excellent, and weather-sealing makes it safe for outdoor use. Some will consider the extra weight worthwhile.

This lens is a good option for those seeking a single, adaptable lens for a range of subjects. The Nikon AF-S 24-120mm f/4G IF-ED VR is a versatile lens that delivers stunning images. 

5. Nikon AF-S DX 18-105mm f/3.5-5.6G ED VR

The Nikon AF-S DX 18-105mm f/3.5-5.6G ED VR is the best travel lens for Nikon APS-C DSLRs. It’s a versatile zoom lens that covers a wide range of focal lengths, making it ideal for travel photography. Its ability to go from wide-angle to telephoto without changing lenses is a big advantage when traveling. 

The lens offers good sharpness in the center, with only the faintest softness at the edges when wide open. Thankfully, the lens has ED elements to keep major problems like chromatic aberration at bay. A Super Integrated Coating (SIC) also reduces glare for better image quality.

A variable maximum aperture is never ideal. And with only an f/5.6 at 105mm, it does present limitations. However, the built-in stabilization helps remedy this problem. It gives you an additional three stops of exposure compensation.

The lens is lightweight and compact, making it easy to carry around for long periods.

For those looking for an affordable, all-in-one lens for Nikon DX-format cameras, the Nikon AF-S DX 18-105mm f/3.5-5.6G ED VR is a practical choice. It balances versatility, image quality, and convenience in one affordable package.

Conclusion: The Best Nikon Lenses for Travel Photography

Choosing the best Nikon Lenses for Travel Photography is a sure-fire way to enhance your travel experience. The article provided a comprehensive guide on the best Nikon lenses, focusing on their portability, optical performance, and versatility.

It highlighted the importance of selecting lenses that offer a balance between weight and image quality, ensuring photographers can capture stunning images without being weighed down.

The Nikon Z 50mm f/1.8 S and Nikon AF-S 50mm f/1.8G stand out for their exceptional clarity and lightweight design. The Nikon Z 50mm f/1.8 S gives you sharp images and a durable build. And the Nikon AF-S 50mm f/1.8G is perfect for its low-light performance and compact size.

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The 5 best prime lenses for travel photography

Prime lenses are great for travel photography. For real! We know prime lenses have a bit of a reputation as being impractical for traveling because you need to carry multiple lenses to cover every situation, and you have to ‘zoom with your feet’. But hear us out… Prime lenses have some distinct advantages for travelers:

• A good prime lens will deliver amazing image quality at a lower price tag compared with zoom lenses, which is great when your budget also has to factor in travel expenses.
• Prime lenses have fewer moving parts and glass elements. This means they are smaller and lighter than zoom lenses, which is a huge plus if you like to travel light.
• Prime lenses come with wider apertures than similarly priced zoom lenses, meaning you can take decent photos in lower light without breaking the bank.

If you’re looking to add prime lenses to your camera bag, read on. We’ll talk you through some features to look for and introduce you to five types of prime lens which, together, will have you covered in any travel scenario.

Features to look for in a lens

Before you go shopping, there are some features and terminology you need to know so that you get the right lens for you.

If you’re a bit of a seasoned photographer, you can skip this section and head straight down to our overview of the five best prime lenses for travel photography.

Focal length

Denoted in millimeters, the focal length of a lens indicates the distance between the camera sensor and the optical center of the lens when focused at infinity. In a 50mm lens, there is 50mm between the optical center and the sensor, while in an 85mm lens the distance is 85mm.

That’s the technical part. In real life, the focal length is known as a measure of how wide the lens’s field of view is. A smaller number means a wider field of view. We’ll get more into this later when we look at the best prime lenses for travel photographers.

Full frame vs crop sensor

Cameras have different-size image sensors. This matters when you buy a lens. More expensive cameras will often have a full-frame sensor, but many DSLR and mirrorless cameras use smaller sensors. These are collectively known as crop sensors, the two most common of which are APS-C and Micro Four Thirds.

Crop sensors do not capture the full field of view as seen through the lens. A photo shot with a 24mm lens on a full-frame camera will have a wider field of view than a photo shot with the same lens on a crop-sensor camera. As an example, the APS-C equivalent of a 24mm lens on a full-frame camera would be 16mm.

Great prime lenses for travel photography

With all that out of the way, let’s look at what kind of prime lenses every travel photographer should have in their camera bag.

Landscape and night sky: 24mm or shorter

You will want a wide-angle lens with a focal length of 24mm or less for landscape photography. (Try 16mm or less for crop-sensor cameras.) These lenses let you capture some seriously sweeping vistas and can add a lot of depth and drama to your photos. They’re great for making cramped spaces look larger too.

If you want to take photos of the night-sky, you also need one of these. Wide-angle lenses are excellent for capturing stunning images of starlit landscapes, and with one of these you can expose your photos for longer before the stars go blurry due to the earth’s rotation.

Now, wide-angle lenses have some downsides too. Unless you get an absolute top-of-the-line lens, which can set you back thousands of dollars, you may notice some distortion in your images that makes straight lines appear curved. This means street or city photography, which often involves lots of straight lines, will not always look the best. Portraits may also look unflattering for the same reason.

Indoors, landscape, street: the 35mm all-rounder

One of our favorite lenses is the 35mm. It is a wonderfully versatile lens and produces great-looking photos. If you’re into landscape, street, or indoor photography, this may well be the type of lens that should sit on your camera by default. While not quite a wide-angle lens, it’s great for landscape photography. It gets you closer to points of interest while still capturing a lot of surrounding landscape. This is also the perfect lens to photograph action on the street. Because of its fairly wide field of view, you can move closer to your subject while still getting a lot of surroundings in your photo.

Even entry-level 35mm lenses normally come with wide maximum apertures, meaning they are great for indoors shooting in low light and will do decent portrait shots too. The crop-sensor alternative lens would be 24mm; however, portrait photos may suffer due to distortion.

Street and portraits from a medium distance:  50mm

You can’t go wrong with a 50mm lens if you enjoy portrait photography. On full-format cameras, a 50mm is referred to as a standard – or normal – lens because it sees the world much the same as the human eye. For this reason, photos taken with a 50mm lens look very natural, making it a fantastic choice for portrait photography.

Capturing street scenes, a 50mm lens lets you put a little distance between you and your subject, which is handy for situations where you can’t be right up-close to the action.

As with 35mm lenses, even an entry-level 50mm will normally come with a wide maximum aperture. And best of all, these prime lenses tend to offer excellent quality and value for your money.

If you have a crop-sensor camera, consider a 35mm lens.

Portraits and street from a greater distance: 85mm

At 85mm, we’re moving into telephoto territory. These lenses are old favorites among travel photographers focusing on street and portrait photography.

At maximum aperture, these lenses will give you an incredibly nice, soft background. This is great for capturing shots of people on the street, where the background can often be busy and the light less than ideal. Just throw that aperture wide open and your photos will look fantastic.

Thanks to the longer focal length, this lens is great if you prefer to keep a bit of a distance to the people you’re photographing. An added benefit is how these lenses compress perspective, making the background appear much closer. These lenses also really shine for portrait headshots as they do not distort your subject’s facial features.

For a crop-sensor camera, you may consider a 50mm lens instead if you focus on portraits.

Wildlife: 135mm

If you take photos that require you to get up close and personal with subjects that don’t necessarily want to be up close and personal with you – such as wildlife – you’re going to need a telephoto lens. A 135mm prime lens offers a nice compromise between portability, quality, and price, which makes it an excellent choice for travel photographers looking to capture wildlife shots. An added benefit is the creamy smooth background you can produce, especially if your 135mm lens sports an f2 maximum aperture or better.

If you’re serious about wildlife photography, get an even longer lens, such as 200mm or 400mm. Beware though, these lenses are large and can put a serious dent in your budget.

If you only take two prime lenses in your camera bag…

We’d love to put all five of these prime lenses in our bag whenever we go traveling. That’s not very practical though. Most camera bags for travelers will fit your camera with one lens mounted plus one or two more lenses at best.

If you carry a full-frame camera and are looking for maximum versatility from just two lenses, consider going with 35mm and 85mm. Between them, they will have you covered for landscape, indoor, street and portrait photography. In a pinch, you can also capture decent night-sky photos and some wildlife shots (providing the wildlife isn’t too shy).

For crop-sensor cameras, a 24mm lens and a 50mm lens could well be a winning combo. These cameras tend to be smaller, so consider sneaking in an 85mm lens too if your camera bag has enough room.

Speaking of bags: If you’ve invested money into some quality prime lenses, make sure you have a good camera bag that will protect your investments while you’re on the go. GATTA bags are sturdy and versatile, and they’re pretty chic too.

What’s your winning combination of prime lenses for travel photography? Let us know in the comments.

Christie Noir

Jackie Noir

Jackie Hazel

• Electronics
• Camera accessories

The First Nikon Z-Mount Mirrorless Lenses You Should Buy

Nikon has been a powerhouse in the camera industry since the earliest days of single-lens reflex models, and it’s famous for the quality and breadth of its lens lineup. It offers perhaps the deepest lens roster of any manufacturer, with legacy-lens compatibility going back to the 1950s, and with the introduction of the Z-mount mirrorless system, it has produced some of the sharpest, fastest-focusing, and most well-rounded lenses it has ever made.

If you’ve recently bought into Nikon’s mirrorless Z system— either DX (APS-C) or FX (full-frame) —you have a wide variety of lenses to choose from, and making the right decision can be difficult. We’ve tested nearly every Z-mount lens available today, and we’re confident that we can help you choose the right lenses for you.

Below you’ll find recommendations for a basic first lens that everyone should have, plus picks for an everyday zoom , a telephoto zoom , a wide-angle zoom , a portrait lens , and a macro lens .

If you don’t shoot with a Nikon mirrorless camera but still want to invest in some great starter lenses, take a look at our lens guides for Canon EF- and RF-mount , Nikon F-mount , and Sony E-mount bodies.

The research

Why you should trust us, the first lens you should get: the fast prime, the everyday zoom, the telephoto zoom, the wide-angle zoom, the portrait prime, the macro lens, using dslr (and film-era) lenses on nikon mirrorless cameras, how we picked and tested.

Supervising editor Ben Keough has written about camera gear for more than a decade for Wirecutter and a range of other tech outlets, including Reviewed.com, Digital Camera Info, and PentaxForums. He’s also an avid hobbyist photographer. He has dipped his toes into various camera systems, including Pentax, Fujifilm, and Micro Four Thirds, but he has been shooting with Nikon cameras and lenses the longest—since 2008.

Assuming that your camera came with a decent, basic zoom lens, the first addition to your collection should be a small, portable, fixed-focal-length (prime) lens that has a useful field of view and can deliver great images in dim light. For most people, the best option is a 50mm (or its equivalent on APS-C) lens with an f/1.8 or wider maximum aperture.

This focal length gets close to the perspective of human eyesight, making the images you capture feel a lot like what you picture in your mind.

Nikon Nikkor Z 50mm f/1.8 S

The best full-frame normal prime lens.

The ideal everyday-carry prime lens, this fast 50mm lens is sharp from edge to edge, even at f/1.8, and it produces buttery-smooth background blur at its widest apertures.

Buying Options

The Nikkor Z 50mm f/1.8 S is the latest “nifty fifty” in Nikon’s long history—and by far the best one the company has ever made. Almost by default, it’s a lens that should be in every Nikon photographer’s bag.

This is the sharpest affordable normal lens that Nikon has ever made. Part of the brand’s high-end S line , this lens is more expensive than most previous Nikon 50mm f/1.8 lenses, but it’s also far sharper and more contrasty than any that came before, even at its widest aperture setting. Unlike previous nifty fifties, it’s also weather sealed, protected against moisture and dust.

For a prime lens, it’s versatile. Despite its lack of zoom capability, it’s an ideal option for everything from short portrait work (where its wide maximum aperture comes in handy) to landscapes (where its edge-to-edge sharpness and lack of distortion are key) to architecture (at a distance).

Its bokeh makes both human and animal subjects pop. Nikon makes better portrait lenses, but if you want to photograph people and pets and aren’t ready to invest in a dedicated portrait optic, the Nikkor 50mm f/1.8 S is a great start. When you’re shooting at its widest aperture, backgrounds simply dissolve into nothingness and foreground your subjects thanks to the lens’s high sharpness and contrast.

The older version is good too, but you need an adapter for that lens. If you’re on a tight budget, you can find the older Nikkor 50mm f/1.8 G for less than half the price (or for a mere fraction used ). The downsides: You need an FTZ or FTZ II adapter in order to use it on a Z-mount mirrorless camera, the image quality you get from it at wide apertures isn’t as good, and it isn’t weather sealed.

Sigma 30mm f/1.4 DC DN | C

The best aps-c normal prime lens.

This 45mm-equivalent prime lens has a field of view very similar to that of our full-frame pick, and it offers most of the same great qualities in its optical performance and build.

The Sigma 30mm f/1.4 DC DN | C is the “normal” option in Sigma’s Contemporary line of prime lenses for Nikon Z, and it matches up in nearly every way to our full-frame pick despite carrying a much lower price tag. Since Nikon doesn’t offer a wide-aperture normal prime for APS-C Z cameras, this Sigma model is currently your best bet.

It may feel even more natural to use than our full-frame pick. This lens’s 30mm field of view on APS-C cameras is equivalent to 45mm on a full-frame camera, which is arguably even closer to natural human vision than 50mm. In theory, this means that the images this lens can capture will correspond more closely to what you see without a camera up to your eye, though everyone has their own preferred “normal” focal length.

It’s quite sharp, and it has great bokeh. Like Nikon’s Nikkor 50mm f/1.8 S, this Sigma lens is sharp, especially in the center of the frame, even at its maximum aperture of f/1.4—which is two-thirds of a stop brighter than that of our full-frame pick. It’s also capable of producing creamy-smooth background blur that makes your subject stand out.

The only real flaw we found here is some chromatic aberration (purple fringing) at the widest aperture, but you can correct that in editing.

You have a cheaper option if you don’t mind using an adapter. Nikon doesn’t make a normal prime for its APS-C Z-mount cameras, but you might consider a cheaper legacy-lens alternative: the extremely affordable Nikon Nikkor AF-S DX 35mm f/1.8 G . Again, you need an FTZ adapter in this case, and this lens is not as sharp or as bright as our recommendation from Sigma, but the price is unbeatable.

Alternatively you could use the excellent Nikon Nikkor Z 35mm f/1.8 S as a 52.5mm-equivalent normal lens, but it’s far more expensive than the Sigma lens and much larger, making it feel unbalanced on APS-C cameras.

Though today’s kit lenses can be surprisingly sharp, they cover less range than many people want during a long day of shooting. If you’d prefer to carry just one lens that can cover virtually everything you might want to capture, from architecture to landscapes and from portraits to action, you need something that goes beyond the typical 24–70mm (or 18–55mm, for APS-C) range of a kit lens.

To have all that capability crammed into a single lens, you usually need to give up a bit of image quality and accept a little extra weight, but the results you get from the best of these all-rounders might still surprise you.

Nikon Nikkor Z 24–120mm f/4 S

The best full-frame everyday zoom lens.

If you want a single lens that can (almost) do it all, this is the one. Its wide-angle to medium-telephoto zoom range and its relatively fast, constant maximum aperture make it especially versatile.

Our favorite everyday zoom for full-frame Z-mount cameras—and one of the most pleasant surprises of all the lenses we tested for this guide—is the Nikon Nikkor Z 24–120mm f/4 S .

It’s like a bag full of prime lenses. The zoom range covers all kinds of shooting situations, and this lens is sharp regardless of the focal length you choose. The constant maximum aperture of f/4 is still bright enough that you can use it indoors (if you don’t mind cranking up the ISO sensitivity) while getting beautifully blurred backgrounds.

It offers all the benefits that come with Nikon’s S-line lenses. This lens offers great build quality, and like other S lenses it’s weather sealed, so you can use it in inclement weather and worry less about dust getting sucked onto your sensor.

It’s not too big or heavy. The 24–120mm f/4 S is a bit bigger and heavier (1 pound 6.3 ounces) than your average kit lens, but it’s lighter than the less versatile Nikkor Z 24–70mm f/2.8 S , which tips the scales at 1 pound 12 ounces. Many shooters are happy to make that kind of trade-off.

Nikon Nikkor Z DX 18–140mm f/3.5-6.3 VR

The best aps-c everyday zoom lens.

This lens boasts an especially versatile zoom range capable of capturing everything from wide-angle architecture and landscapes to portraits and wildlife shots.

APS-C shooters have fewer options for this kind of lens, at least for now. The best we’ve found is the Nikon Nikkor Z DX 18–140mm f/3.5-6.3 VR , which squeezes a lot of zoom range into a compact package.

It’s sharp enough. This lens is not quite as bitingly sharp as our full-frame pick, and in that regard it might even lag behind the 16–50mm kit lens that comes with Nikon’s APS-C Z cameras. It doesn’t have the 24–120mm lens’s constant maximum aperture, either. But it’s still a very competent performer, especially considering the zoom range it offers.

It covers a lot of ground. This lens offers quite a bit more zoom range than our full-frame pick does, but with the drawback of a variable maximum aperture. With a full-frame-equivalent range of 27–210mm, you can grab everything from wide-angle landscapes to wildlife.

It’s small and lightweight. One of APS-C’s biggest advantages over full-frame is that the bodies and lenses can be more compact, and this lens delivers in that respect. At 11.2 ounces, it weighs about half our full-frame pick despite offering more zoom. That pint-sized design suits smaller APS-C Z-mount bodies like the Z 50 and Z fc.

It offers Nikon’s powerful image stabilization. Thanks to the addition of vibration reduction (VR), you can still use this lens indoors despite its relatively narrow maximum aperture, and the feature may even make this lens viable for sports coverage.

If you like to photograph fast-moving sports or wildlife, a telephoto zoom lens is essential, and one with a wide, constant aperture is ideal. Nikon makes a few such lenses for its Z system, but many are pricier than we feel comfortable recommending to beginners who are just building a kit.

Nikon Nikkor Z 70–180mm f/2.8

The best full-frame telephoto zoom lens.

Nikon’s budget wide-aperture telephoto zoom lens punches above its class with excellent sharpness and creamy bokeh, but it lacks image stabilization.

A notable outlier in Nikon’s pricey telephoto range is the Nikkor Z 70–180mm f/2.8 , which is broadly believed to be a version of an existing Tamron lens .

It outperforms its price tag. Despite its affordability in comparison with Nikon’s other wide-aperture telephoto zoom lenses, this model is sharp throughout its zoom range, and its f/2.8 maximum aperture produces beautifully creamy backgrounds. Because of that wide aperture, it’s ideal for shooting indoor sports such as basketball and hockey, a task that zoom lenses with smaller apertures may struggle with. It’s also a fantastic portrait lens in a pinch.

But the bargain comes with trade-offs. The main drawbacks to this lens are its lack of image stabilization (though most full-frame Z bodies have in-camera stabilization) and weather sealing. The zoom range is also a bit shorter than the 70–200mm that’s customary for this class of lens.

Compared with Nikon’s S-line telephoto lenses, it’s light and compact. One significant upside is that the Nikkor Z 70–180mm f/2.8 weighs a lot less than Nikon’s far pricier Nikkor 70–200mm f/2.8 VR S—a mere 1 pound 12.1 ounces, as opposed to 3 pounds. It’s also 2.7 inches shorter.

You can find good adapted-lens alternatives. Nikon’s DSLR-era 70–200mm f/2.8 VR lens went through several iterations, all great, and they can often be found used for well under $1,000. Sigma and Tamron both made similarly excellent 70–200mm lenses for Nikon DSLRs, which are sometimes available for even less. As usual, these lenses require an FTZ or FTZ II adapter for use on Nikon Z bodies.

Nikon Nikkor Z DX 50–250mm f/4.5-6.3 VR

The best aps-c telephoto zoom lens.

Despite its kit-lens price, this lens offers excellent sharpness and a generous zoom range that makes it suitable for (some) sports, travel, and wildlife.

If you own an APS-C Z-mount camera and plan to shoot mostly outdoors—say, wildlife, slower-moving sports such as golf, or distant landmarks on vacation—the Nikon Nikkor Z DX 50–250mm f/4.5-6.3 VR is surprisingly great for what amounts to a kit lens. It’s the best purpose-built telephoto lens for APS-C, but serious photographers may want to consider a full-frame lens with a constant maximum aperture instead.

In the right conditions, it’s a strong performer. Because of this lens’s narrow, variable aperture, it can’t produce the same beautiful bokeh as our full-frame pick can. But under the right circumstances, this compact, lightweight lens is capable of capturing beautifully crisp, clear images. And while the background blur isn’t as extreme as with the Nikkor Z 70–180mm f/2.8, the bokeh it produces is notably smooth.

Vibration reduction helps compensate for the variable aperture. The Nikkor Z DX 50–250mm f/4.5-6.3 VR offers Nikon’s in-lens image stabilization, which effectively combats camera shake at the long end of its 75-375mm–equivalent zoom range. That means you may be able to eke out some nice shots in dimmer conditions despite its narrow aperture.

Our full-frame pick may still be a better choice. Owners of Nikon’s APS-C cameras have fewer options to choose from when it comes to long focal lengths. In fact, if you own a Z 50 or Z fc and want to shoot the kinds of subjects discussed above, you’re best served by biting the bullet and getting the full-frame Nikkor Z 70–180mm f/2.8 (a 105–270mm equivalent on those cameras).

If you often find yourself taking photos in tight spaces—real-estate photography, museums, and the like—a wide-angle lens is an essential tool. And it’s also a great thing to have with you when you’re strolling the concrete canyons of New York City or Tokyo.

These lenses tend to start ultra-wide, with exaggeratedly stretched corners, and narrow down to a perspective that’s wider than what you can get from the fast prime lenses we recommend above. But even at their widest, the best of these lenses avoid fish-eye-like barrel distortion, opting for a rectilinear field of view. As a result, they can also work well for capturing breathtaking landscape and street-photography shots.

Nikon Nikkor Z 14–30mm f/4 S

The best full-frame wide-angle zoom lens.

This lens provides a distinctive perspective for architecture and landscapes, as well as street photography and everyday shooting.

The best wide-angle zoom lens we tested for full-frame cameras is the Nikon Nikkor Z 14–30mm f/4 S , which dazzled us with its range, image quality, and solid build.

It’s expensive, but it’s nearly flawless. Although this lens is not cheap, it is remarkably contrasty, resistant to unsightly lens flare (a common issue with wide-angle lenses), and very wide. It’s sharp from edge to edge at all focal lengths, too.

It’s surprisingly versatile for a wide-angle lens. The short minimum focusing distance of the Nikkor Z 14–30mm f/4 S allows it to serve as an effective—if unusual—portrait lens for fun people shots. Its 30mm maximum focal length is still considered wide on a full-frame camera, but that’s longer than what you get in many wide zooms, so you can use it for lots of different subjects.

In-camera corrections render it distortion-free. This lens displays quite a bit of barrel distortion on the wide end and pincushion on the long end in raw files, but JPEGs get automatic correction in-camera to be nearly perfectly rectilinear (corrections for raw files are also available in Adobe Lightroom and other popular developing software).

Nikon Nikkor Z DX 12–28mm f/3.5-5.6 PZ VR

The best aps-c wide-angle zoom lens.

This lens’s 18-42mm–equivalent range can cover wide-open vistas and people shots equally well. And its Power Zoom function makes it a great choice for video work.

For crop-sensor photographers—and people who like to shoot video—the Nikon Nikkor Z DX 12–28mm f/3.5-5.6 PZ VR is a great choice.

It’s perhaps even more versatile than our full-frame pick. Although this lens is not as wide as that model, its widest focal length (18mm equivalent in full-frame terms) is still more than expansive enough for great architecture and landscape shots. But its 42mm-equivalent maximum focal length is a great everyday focal length, squarely in the “normal” ballpark. That means this lens can work well for more conventional people photos and still-life shots, too.

It performs well across its zoom range. Like its larger sibling, this lens is sharp, contrasty, and capable of focusing very close. Its bokeh isn’t as smooth as what you can get out of the Nikkor Z 14–30mm f/4 S, but that’s not really something most people look for in a wide-angle zoom.

It’s especially good for vlogging and other video. As a Power Zoom lens, the Nikkor Z DX 12–28mm f/3.5-5.6 PZ VR zooms smoothly and silently, and you can even control the focal length remotely for vlogging and other video uses. Adding to that video utility is Nikon’s reliably strong VR image stabilization, which can produce beautifully smooth footage even when you’re walking with the camera.

If you love taking photos of people and pets, a dedicated portrait lens—typically a prime (non-zoom) lens with a focal length between 70mm and 105mm—is the best way to capture them. Lenses in this range can isolate your subject from the background, especially with the wide apertures that primes can utilize, and they don’t distort human features the way wider lenses do.

Nikon Nikkor Z 85mm f/1.8 S

The best full-frame portrait prime lens.

This is the sharpest version of Nikon’s classic portrait lens yet, with impressively smooth background blur that really makes your subject pop.

The Nikon Nikkor Z 85mm f/1.8 S is a classic example of a portrait lens, delivering shallow depth of field, smooth background blur, and bitingly sharp, contrasty results even at its widest aperture setting.

It’s almost optically flawless. Unlike some older portrait lenses, including Nikon’s own previous 85mm offerings, this one is nearly as sharp in the corners as it is in the center of the image. That means it can also work well to capture (distant) landscapes and architecture. And it’s almost completely distortion-free, even with in-camera corrections turned off.

It’s weather sealed and ruggedly built. Like Nikon’s other S-line lenses, the Nikkor Z 85mm f/1.8 S is resistant to water and dust, and it’s built from more robust plastics (plus a metal mount) than what you find in some of the company’s more budget-oriented lenses.

The previous-generation equivalent is really cheap. If you want to save a bit of money, Nikon’s Nikkor 85mm f/1.8 G , made for DSLRs, is also a very good lens and can work on Z cameras with an FTZ adapter. The trade-off for paying half as much as you would for a Z-mount 85mm lens, or less if you get it used, is slightly softer results (especially at the widest apertures, in the corners of the image), marginally less-smooth bokeh, and slower autofocus.

Sigma 56mm f/1.4 DC DN | C

The best aps-c portrait prime lens.

For DX cameras, this lens provides a perspective similar to that of our full-frame pick, and it has an even brighter maximum aperture.

For crop-sensor Z bodies, the Sigma 56mm f/1.4 DC DN | C is a great option that stacks up to our full-frame pick in almost every regard.

It offers a classic portrait focal length. With a full-frame-equivalent focal length of 84mm, it provides almost exactly the same field of view as the Nikon Nikkor Z 85mm f/1.8 S.

It’s sharp, it creates pretty bokeh, and it can focus close for a portrait lens. Like the Nikkor Z 85mm f/1.8 S, this lens is sharp from edge to edge, even at its bright f/1.4 maximum aperture, and it produces creamy bokeh. It can focus closer than most portrait lenses, too, which amplifies its ability to blur backgrounds.

It balances well on Nikon’s smaller APS-C bodies. Portrait lenses are often big and heavy, but this Sigma lens is relatively compact and lightweight at a little under 10 ounces and 2.34 inches long. That makes it a great match for the smaller Z 50 or Z fc, and even the Z 30.

It’s well built and weather sealed. Like our full-frame pick—and Sigma’s other Nikon Z-mount lenses—the 56mm f/1.4 DC DN | C is built from robust plastics that offer a premium feel, and it features a metal mount and weather sealing. (Sigma’s lenses have a gasket on the lens mount, while Nikon’s Nikkor S-line lenses also include internal gaskets around every moving part.) You can use this Sigma lens in light rain, at the beach, or in the desert without worrying about the health of the lens or your camera.

Most people don’t need a macro lens, but if you love photographing the hidden world—things on the scale of insects, soap bubbles, the details of rare coins, or the minutiae of flowers—you might be one of the few who do. And if you want to shoot both the small stuff and gorgeous portraits, a good macro lens can pull double duty.

Nikon Nikkor Z MC 105mm f/2.8 VR S

The best macro lens for aps-c and full-frame.

Nikon’s sharpest macro lens gives you a breathtakingly clear, close-up view of things normally unseen.

Neither Nikon nor third-party lens makers currently produce any Z-mount APS-C macro lenses, so we have only one pick here: the Nikon Nikkor Z MC 105mm f/2.8 VR S .

It does everything you could want a macro lens to do. This lens is wickedly sharp, as all good macro lenses are, and it offers 1:1 magnification, so it can reproduce your subject at life size. (Some less-expensive and smaller macro lenses are limited to 1:2 magnification or require an add-on converter to reach 1:1.)

Its exceptional bokeh makes it a great portrait option. This lens’s relatively wide maximum aperture of f/2.8, combined with its ability to focus extremely close, allows it to turn the background of your photos into a soft, creamy blur. Though the maximum aperture narrows to f/4.5 at the closest focusing distances, it still produces especially smooth bokeh.

It’s loaded with features. Like other S-line lenses, the Nikkor Z MC 105mm f/2.8 VR S is sealed against weather and dust, and it includes Nikon’s optical vibration reduction (VR)—very important when you’re working at such close distances. The lens body has several helpful features, too, such as a function button, an OLED display, and a control ring that you can assign to control both aperture and other functions.

It also has a focus limiter switch, which prevents the lens from focusing very close when you don’t plan to use it for macro work—say, when you’re shooting portraits.

It works well on APS-C bodies too, but with caveats. On Nikon’s APS-C cameras, this lens has an effective focal length of 157.5mm, which makes it harder for you to avoid motion blur caused by your hand movements. Even with VR, you’re likely to need a tripod to take consistently sharp shots.

If you’re willing to give up optical image stabilization, Nikon’s Nikkor Z MC 50mm f/2.8 also offers 1:1 magnification and a more reasonable 75mm effective focal length on APS-C cameras, but we preferred the image quality from the 105mm macro lens. The Nikkor Z MC 105mm f/2.8 VR S also gives you more working distance from your subject when you get to 1:1 magnification.

You can find lots of other good macro lenses, if you’re willing to use an adapter. If you’re seeking to shave a little off the price of a brand-new Nikkor Z-mount macro lens, the Sigma 105mm f/2.8 EX DG OS HSM Macro is a great alternative that can work with an FTZ adapter. It isn’t quite as clinically perfect as the Nikkor Z MC 105mm f/2.8 VR S and lacks some of that model’s bells and whistles, but it’s still impressively sharp, capable of 1:1 magnification, and equipped with image stabilization. New, this Sigma lens can save you more than $300 in comparison with the Nikkor Z equivalent, and in used condition it can be much, much cheaper.

One of Nikon’s key advantages in comparison with competing camera systems is that it goes out of its way to ensure that older lenses work on its new mirrorless bodies, including with autofocus and proper metering. Specifically, all F-mount DSLR lenses with electronic focusing motors (those with AF-S, AF-P or AF-I designations) can work with full autofocus and auto-exposure capability on Z-mount cameras via the company’s FTZ and FTZ II adapters. (The two adapters have identical functionality, but the FTZ II does away with the original’s tripod foot so that it works better with large lenses that have their own tripod feet, as well as with the Z 9 camera and its integrated vertical grip.)

This means you can get very cheap DSLR-era lenses that work well on the latest bodies, such as the AF-S Nikkor 50mm f/1.8G, which costs around $200 new or $100 or less used, in contrast to the $530 that Nikon usually asks for the Z-mount Nikkor 50mm f/1.8 S. And you can also mount older, manual-focus lenses—going all the way back to the beginnings of the F-mount in 1959—using the same adapter. In total, Nikon says it allows you to use approximately 360 older Nikkor lenses with cutting-edge Z cameras.

In light of all that, you may be asking why we don’t recommend any F-mount lenses in this guide. We have a few reasons:

• In many cases, Z-mount lenses are simply better performers. Nikon Z lenses are newer, designed for the Z-mount, and—generally speaking—equipped with improved optical performance, better glass coatings, and faster autofocus than older lenses.
• Ergonomics are often worse with F-mount lenses. Because these older lenses were designed for cameras with a different mount and different register distance , they can make the smaller Z-mount mirrorless bodies feel front-heavy.
• Older lenses may not be supported for long. Though relatively few photographers are likely to need to send a lens in for repair, this is still a concern. Nikon has begun phasing out support (including repairs, due to parts availability) for many DSLRs and DSLR-era lenses, which means that repairs will be much more difficult in the future.

But even with all of that said, there are some excellent bargains to be had, especially if you’re buying used , and since Nikon’s Z-mount lens system isn’t complete yet, you’ll find some lenses (for example, tilt-shift lenses and exotic telephotos) that are available exclusively in F-mount at this time. When there’s a relevant F-mount lens to consider in a given category, we’ve recommended it above.

Unlike some of its rivals, Nikon has opened the Z-mount to third-party lens manufacturers, and as a result, a healthy number of options are available for the relatively young system. To winnow the contenders, we established a few criteria: a list price under $2,000, autofocus capability, and solid support (which ruled out some of the less-established third-party brands).

Over the course of eight months, we systematically tested nearly every Z-mount lens that met those criteria, including both first-party Nikon Nikkor glass and third-party options from Sigma, Tamron, and other lens makers. We didn’t shoot resolution tests or measure distortion—if you’re interested in that kind of technical data, you’ll find no shortage of specialist websites and YouTube reviews that break it all down. Instead, we shot with the lenses in the real world, evaluating both overall image quality and other, fuzzier metrics such as handling, durability, and ease of use.

We’re assuming that you already own a “kit” lens that came bundled with your camera—something like the Nikkor Z 24–50mm, Nikkor Z 24–70mm f/4 S, or Nikkor Z DX 16–50mm f/3.5-6.3 VR. Our goal with this guide is to provide recommendations for lenses that outdo those general-purpose zooms by providing additional focal length, wider aperture, or other useful capabilities, such as macro.

This article was edited by Phil Ryan and Erica Ogg.

Meet your guide

Ben Keough is the supervising editor for Wirecutter's working from home, powering, cameras, and hobbies and games coverage. He previously spent more than a decade writing about cameras, printers, and other office equipment for Wirecutter, Reviewed, USA Today, and Digital Camera HQ. After four years testing printers, he definitively confirmed that they all suck, but some suck less than others.

Mentioned above

• If you want to shoot in lower light, with a wider viewpoint, or closer, you’ll need to invest in new lenses. These are our recommendations. The First Canon Lenses You Should Buy  
• After testing multiple Nikon lenses, we think these are the best picks for most people who want a variety of options. Here’s what we recommend. The First Nikon DSLR Lenses You Should Buy  
• If you own a Sony mirrorless camera body and want to know which lenses you should get, here are our suggestions for the first lenses you should consider. The First Sony E-Mount Lenses You Should Buy  
• If you want to shoot sharp photos while using a slow shutter speed, we think the Vanguard Alta Pro 2+ 263AB100 tripod is the best choice. The Best Tripod  

Further reading

The Best Mirrorless Camera

by Phil Ryan

After testing dozens of cameras over the years, we can say that the Olympus OM-D E-M10 Mark IV is the best mirrorless camera for most people.

Why We Don’t Recommend Buying a New DSLR Camera

If you’re buying a new camera, look for a mirrorless model—most camera makers aren’t developing DSLRs anymore.

The Best Lenses for iPhone Photography

by Erin Roberts

If you want to expand on your smartphone’s cameras, we think Moment’s Anamorphic Lens is the best way to do that.

How to Buy a Camera Flash

by Arriana Vasquez

A camera flash can take your photography to a new level of creativity, but picking one can be tricky. We explain how to choose the right flash for your camera.

Watch CBS News

How to make solar eclipse glasses, cereal box viewers and pinhole cameras to watch the 2024 show safely

By Sara Moniuszko

Edited By Allison Elyse Gualtieri

Updated on: April 8, 2024 / 12:08 PM EDT / CBS News

If you can't get your hands on a pair of solar eclipse glasses, experts say there are still ways to enjoy the event safely.

There are also unsafe alternatives, including wearing your normal sunglasses — or even stacking two or three.

"There's no amount of sunglasses that people can put on that will make up for the filtering that the ISO standard filters and the eclipse glasses provide," said Dr. Jason P. Brinton, an ophthalmologist and medical director at Brinton Vision in St. Louis.

You also shouldn't look at the eclipse through a camera lens, phone, binoculars or telescope, according to NASA, even while wearing eclipse glasses. The solar rays can burn through the lens  and cause serious eye injury.

So what can you use? Here's what doctors suggest:

How to make your own eclipse-safe glasses at home

If you don't have the traditional solar eclipse glasses, Brinton said you can also look through No. 14 welder's glasses (for people who may have access) or aluminized mylar plastic sheets.

Just like with traditional solar eclipse glasses, Brinton said it's important to make sure the material you're viewing through is fully intact.

"Make sure that there are no scratches or damage," he said. 

How make a pinhole projector for safe eclipse viewing

No glasses? Indirect viewing is another way to enjoy the eclipse without damaging your eyes. 

Brinton said there are several ways to indirectly view the event, including a homemade pinhole projector. Here's how to make one:

• Put a small pinhole into a piece of paper
• Face away from the sun, holding the paper out so the sunlight hits it
• Watch the pinhole projection of the sun on the ground (or on a second piece of paper you hold underneath), seeing it go from a complete circle gradually disappearing 

"If you're in the path of totality, of course it completely disappears." Brinton said. "That's an indirect way of viewing it that is appropriate."

How to make an eclipse viewer from a cereal box

If you want to make your indirect viewing tool a bit more elaborate, you can make an eclipse viewer with a few more materials around the house. Here's how:

• Find a small box (popular options are cereal and shoe boxes)
• Cut two openings at the bottom of the box
• Using tape, cover one of the openings with a piece of paper or aluminum foil punctured with a small pinhole
• Face away from the sun, allowing the light to hit the pinhole
• Looking through the remaining opening to the inside of the box, watch as the sun projection goes from a complete circle to an eclipse

Need a visual? CBS Pittsburgh meteoroligist Ray Petelin  demonstrated an easy step-by-step on how to make a cereal box pinhole viewer, which you can watch below.

Doctors share how to make sure your eclipse viewers are safe

"Theoretically, since you are not looking directly to the sun during the eclipse or partial eclipse, (eclipse viewers) should be safe," said Dr. Yehia Hashad, an ophthalmologist, retinal specialist and the chief medical officer at eye health company Bausch + Lomb. "However, having said that, it's implementation that sometimes makes us worry."

• Are your eclipse glasses safe? Here's how to know if they'll really protect your eyes during the total solar eclipse .

Why? Sometimes people have a small peek at the sun in order to adjust the box or pinhole in the right direction, he said. This can be especially common with children, who may not understand the consequences of looking at the eclipse.

"This is what makes us sometimes conservative about this method," said Hashad. "We always worry, unless you are supervising the implementation of this, especially with children since they are very vulnerable to these types of situations."

Why do you need a special viewer for the total solar eclipse?

Eye protection during the eclipse is important to prevent eye damage.

"If someone briefly looks at the eclipse if it's extremely brief, in some cases there won't be damaged but damage can happen even within a fraction of a second in some cases," Brinton said. "As an ophthalmologist, I have seen patients who have so-called eclipse or solar retinopathy."

Signs and symptoms of eye damage following an eclipse viewing include headaches, blurred vision, dark spots, changes to how you see color, lines and shapes.

Sara Moniuszko is a health and lifestyle reporter at CBSNews.com. Previously, she wrote for USA Today, where she was selected to help launch the newspaper's wellness vertical. She now covers breaking and trending news for CBS News' HealthWatch.

More from CBS News

Look at the solar eclipse too long? Doctors explain signs of eye damage

Are your eclipse glasses safe? How to tell for the total solar eclipse.

Is it safe to take pictures of the solar eclipse with your phone?

Solar eclipse maps show 2024 totality path, peak times across the U.S.

Can I take a photo of the solar eclipse with my phone? Yes, but it's not just point and shoot

The day so many have been anxiously looking forward to is finally here — the 2024 solar eclipse!

This one will only be a partial eclipse in Southern California, meaning only a part of the sun will appear to be covered by the moon. Regardless, the sky on Monday will still be a wonder to behold.

An event so unique and rare warrants the desire to immortalize it through a photograph, but is it safe to take a photo of the eclipse with your smartphone camera?

According to data from tech website, Slashgear.com , there’s been a staggering 700% increase in Google search trends for “can I take a photo of the eclipse with my phone” in the past week, while searches for “is it safe to take a photo of the solar eclipse” have soared by 300%.

If you're aiming to photograph Monday's eclipse, there are a few safety precautions to consider. Here's what to know.

Solar eclipse guide: Updated weather forecast, where to view, when will it peak in SoCal

Is it safe to photograph a solar eclipse with my smartphone?

Yes, it is possible to take a photo of the eclipse using your smartphone camera. However, it is important to take the appropriate safety approaches to avoid harming yourself or your smartphone camera.

Back in 2017, NASA provided tips on how to immortalize the celestial event using a smartphone camera. NASA said most of the smartphone photos you'll see won't generally look very good with the typical smartphone system, however there are steps you can take to create dazzling photos.

NASA recommends making sure the image is properly focused, purchasing a zoom lens attachment and zooming out for a wide-angle view.

How to safely photograph the eclipse with a smartphone

Much like your eyes, your smartphone's camera also requires special protection from the sun.

According to Slashgear.com, snapping photos of the eclipse without the proper camera lens protection can cause your phone's sensor to stop working properly. In other cases, you may notice a general decrease in photo quality. To avoid any damage to your smartphone camera, you will need to purchase an ISO-certified filter, ISO 12312-2.

According to the American Astronomical Society , optical devices like telescopes, binoculars and cameras need solar filters to protect them from intense sunlight and heat, and to ensure that you don’t accidentally look at the sun through an unfiltered instrument.

"In every case, the solar filter must be attached to the front of your telescope, binoculars, or camera lens," said the American Astronomical Society on their website. "This ensures that the Sun’s light and heat are kept out of the optics."

While many manufacturers may claim that their products are complaint with the ISO 12312-2 standard, that isn't always the case; which is why it's crucial to purchase solar eclipse camera filters and glasses from reputable manufacturers. The American Astronomical Society offers a list of trusted manufacturers on their website. It is also not recommended to DIY a camera filter as it can pose risks to both your eyes and your smartphone camera.

Where can I get a solar eclipse filter for my phone?

If you're wondering where to purchase solar eclipse filters for smartphones, the following list of manufacturers and companies are backed by the American Astronomical Society:

• Rainbow Symphony
• DayStar Filters
• Thousand Oaks Optical
• American Paper Optics
• Halo Eclipse Spectacles
• Grafix Plastics 

Diana Leyva covers trending news and service for The Tennessean. Contact her at [email protected] or follow her on X, the platform formerly known as Twitter at @_leyvadiana