Fujifilm’s medium format GFX series of cameras has been top-rated among landscape and portrait photographers since the launch of the original Fujifilm GFX 50S. With the launch of the GFX 50S II for the very reasonable sum of $3999 and the GFX 100S for $5999, Fujifilm has managed to deliver a medium-format(ish) camera system for the same price and, in some cases, less than a full-frame camera. It’s a remarkable achievement in a relatively short space of time.
While the GFX lens range for the camera’s G Mount was lacking for the first couple of years, it has steadily been filled out with a range of focal lengths and apertures. The GFX lens range now features everything from ultra-wide 20mm to telephoto 250mm, and includes wide apertures such as the stunning GF 110mm f/2 and GF 80mm f/1.7. This guide features everything you might want to know about entire Fujifilm GF lens lineup.
A Note On Lens Nomenclature – G Mount, GF or GFX?
Fujifilm GFX cameras use the G Mount. Fujifilm generally refers to their lenses for the GFX system as G Mount lenses, but sometimes also refers to them as GF lenses in their documentation. In common parlance, they are often referred to as GFX lenses or sometimes GF lenses. Me? I probably flip-flop back and forth, much as Fujifilm do on their website. Also, if you are unfamiliar with the names and terminology that Fujifilm uses to describe their lenses, I recommend you read our previous article entitled Fuji Lens Terminology and Abbreviations.
Fuji GFX Crop Factor
If you are used to focal lengths for 35mm full-frame cameras, the GF lens focal lengths will seem slightly because the GFX sensor is much larger than full-frame 35mm. I have previously written a quick tutorial about calculating the GFX series crop factor that will fill you in on this a little more if you aren’t familiar. The TLDR version is that the GFX crop factor for these not-quite medium format cameras is 0.79x. If you don’t want to do the math, the lens specification table further down the page includes the 25mm equivalent focal length of all GF lenses.
Fujifilm GF Lens Release Dates
Sometimes it’s helpful to know how old a lens is; many people are most interested in buying the newest lenses. For this reason, I have created a table that shows the FujiFilm GF lens release dates, with the latest lenses listed right at the top.
|GF Lens Model||Release Date (MMDDYY)|
|GF 30mm f/5.6 Tilt-Shift||Coming Soon|
|GF 110mm f/5.6 Tilt-Shift||Coming Soon|
|GF 20-35mm f/4 R WR||09/08/2022|
|GF 35-70mm f/4.5-5.6 WR||09/02/2021|
|GF 80mm f/1.7 R WR||01/27/2021|
|GF 30mm f/3.5 R WR||06/30/2020|
|GF 45-100mm f/4 R LM OIS WR||01/23/2020|
|GF 50mm f/3.5 R LM WR||07/18/2019|
|GF 100-200mm f/5.6 R LM OIS WR||01/17/2019|
|GF 250mm f/4 R LM OIS WR||04/12/2018|
|GF 1.4X TC WR||04/12/2018|
|GF 45mm f/2.8 R WR||09/07/2017|
|GF 23mm f/4 R LM WR||04/19/2017|
|GF 110mm f/2 R LM WR||04/19/2017|
|GF 32-64mm f/4 R LM WR||01/19/2017|
|GF 63mm f/2.8 R WR||01/19/2017|
|GF 120mm f/4 R LM OIS WR Macro||01/19/2017|
A Complete List of GF Lenses and Specifications
By default, lenses in the table are sorted by their widest focal length, placing wide-angle lenses at the top and super-telephoto lenses at the bottom.
- Use the filters to narrow down lenses shown in the table.
- Use the horizontal scroll bar below the table to reveal more specifications.
- Mobile users can press the + button to expand lens details.
Fujifilm GF Lens Roadmap
Unlike some camera brands, Fujifilm is usually reasonably open about upcoming lens releases, and they publish a lens development roadmap. Currently, three unreleased lenses appear on the latest version of the roadmap, which was unveiled in September 2021.
- GF 30mm f/5.6 Tilt-Shift
- GF 110mm f/5.6 Tilt-Shift
- GF 55mm f/1.7 (2023)
Fujifilm GF Lens Details
Use the links below to jump to a discussion of every lens in the lineup.
- G Mount GF Zoom Lenses
- G Mount GF Prime Lenses
- GF 1.4x Teleconverter
- Fujifilm GF Extension Tubes
Fujifilm GF Zoom Lenses
Fujifilm GF 20-35mm f/4 R WR
The GF 20-35mm f/4 lens is the latest lens in the Fujifilm medium-format lens lineup. I will update this guide with some thoughts on this lens as soon as I have had a chance to test it out. It appears promising, particularly as a partner to the 35-70mm lens, giving you a 20-70mm range in just two lenses.
Fujifilm GF 32-64mm f/4 R LM WR
The GF 32-64mm lens was one of the three lenses launched with the original Fujifilm GFX 50S medium format camera. This standard zoom lens covers a focal range equivalent to a 25-51mm in full-frame 35mm terms. This gives you a versatile walk-around lens option for landscape and travel photography. The GF 32-64mm is a top performer that covers a range occupied by no less than four GF prime lenses (30mm, 45mm, 50mm, 63mm). Of course, the f/4 aperture is slightly slower than the primes, but the optical performance is excellent.
The 14 lens elements contain three aspherical elements to combat spherical aberration, an ED element and a Super ED element. Considering the relatively compact size and sub-1KG weight (895g), this is a compelling lens for people looking to build a simple (somewhat) lightweight GFX camera kit. Those looking to cover a broader range in a simple kit should instead consider pairing the GF 20-35mm f/4 with the 35-70mm f/4.5-5.6 for an excellent 2-lens kit.
If I nit-pick with this lens, its main weakness is corner sharpness at wider focal lengths. Centre sharpness is good wide open but much better when stopped down to f/5.6. However, the extreme corners still demonstrate a fair amount of soft smearyness at all apertures when used at the wide end of the focal range. High contrast scenes will also reveal some purple fringing chromatic aberration in those soft corners.
Fujifilm GF 35-70mm f/4.5-5.6mm WR
Launched initially alongside the GFX 50S II camera, the GF 35-70mm lens is the cheapest lens in the GFX lens lineup. Purchased on its own, it comes in at $999. But if you are buying it as a bundle with the GFX 50S II, you are effectively getting this lens for a mere $500. If anyone is buying the GFX 50S II and they don’t already own any other GF lenses, the bundle with this lens is a no-brainer decision.
Despite the low price, this lens is fully weather-sealed. With a compact collapsible design, weighing in at just 440g (15.5oz), it’s an excellent walk-around general-purpose lens that can easily be carried all day long.
The 35-70mm focal length is equivalent, in 35mm terms, to a 28-55mm field of view. Landscape photographers will want a wider lens than this for vast landscapes, but this lens would be an excellent second lens next to the GF 23mm f/4 prime lens.
Travel photographers might find this lens to be near perfect for their needs. The 28mm-equivalent wide end of the range has always been a popular option for travel reportage, and the 55mm-equivalent long end of the range is excellent for portraiture and tighter travel details. On the camera, it is considerably smaller and lighter than the GF 45-100mm lens, and the wider angle will be much more helpful.
Compared to the GF 32-62mm lens, it is smaller, lighter, and cheaper. You do give up some light by going to an f/4.5-5.6 aperture, compared to an f/4 aperture, but I think most people will be happy enough to do this to get that smaller size.
I would not be surprised to see the GF 32-64mm removed from the GF lens lineup at some point. I think this newer 35-70mm lens will outsell it by a wide margin.
Fujifilm GF 45-100mm f/4 R LM OIS WR
The GF 45-100mm lens is a standard zoom lens with a versatile focal range. Equivalent to a 36-79mm lens in full-frame terms, this lens can be used for landscapes, travel, portraiture, weddings, reportage, and street photography. This is a real do-it-all focal range, and if I could only have one lens on a GFX camera, I think this would be the one.
The useful focal range is further bolstered by including OIS (optical image stabilization). Earlier GFX cameras such as the Fujifilm GFX 50S and 50R didn’t have in-body stabilization, so the inclusion of OIS is beneficial with them. However, from the GFX 100S onwards, the in-body stabilization of the newer cameras can also work in tandem with the OIS to “supersize” the stabilization well past 6-stops. No other camera system with such a large sensor comes even close to that kind of stabilization performance.
Image sharpness is excellent across the frame, distortion is very well controlled, and chromatic aberration is almost non-existent. The only slight optical disappointment is the amount of vignetting when used wide open at 45mm. But hey, it’s a fast zoom lens. This is generally to be expected and quickly fixed in post-production.
Should you choose the 32-64mm or the 45-100mm lens if you can only have one of them? I’d take the 45-100mm and add the excellent value GF 30mm prime lens to cover wider subjects. That would be a perfect 2-lens GFX kit.
Fujifilm GF 100-200mm f/5.6 R LM OIS WR
The GF 100-200mm lens was launched in 2019 and was the second lens in the GF lineup to get image stabilization (OIS). This lens covers a range from 79-168mm in full-frame terms, making it a popular choice for people coming from full-frame cameras and looking for something somewhat comparable to a 70-200mm zoom. Of course, the field of view for this lens isn’t as wide or as long, but you can pair it with the GF 1.4x teleconverter to take it to a more comparable 221mm equivalent on the longest end.
Despite that range and reach, the lens only weighs a little over 1kg, making it considerably lighter than, say, a Sony 70-200mm GM lens. A tripod collar is included with the lens, although for some reason, Fujifilm omitted 90-degree click-stops during the rotation.
This lens is a good option for landscape photographers who enjoy creating images with very compressed geographical features. It’s also a great travel photography lens and a reasonable choice for portraiture, too. This lens does, in 35mm-terms, cover the traditional portrait lens focal lengths of both 85mm and 135mm, providing a flattering amount of compression for headshots.
The f/5.6 aperture doesn’t create a massive amount of bokeh at the wide end, but it creates considerable background blur when you zoom to the 200mm end of the range. To the point where your focal plane is not even deep enough to have all of someone’s head in focus. Of course, the 80mm or 110mm lenses in the GF lineup would be more ideal for portraits, but you can certainly get the job done with the 100-200mm.
The downside to the lens is undoubtedly the relatively small f/5.6 aperture. It is somewhat offset by the OIS system when shooting static scenes and subjects, but OIS won’t help you if you need a fast shutter speed to stop the action of a moving subject. This lens is very good but not exceptional from an image quality standpoint. The 110mm, 120mm and 250mm primes are sharper, but the 100-200mm does a decent job.
Distortion and chromatic aberration are almost non-existent. Sharpness is also highly uniform across the frame, which is not unexpected from a zoom with this sort of focal range. A 45-100mm pairing would be a genuinely versatile 2-lens kit for many photographers.
Fujifilm GF Prime Lenses
Fujifilm GF 23mm f/4 R LM WR
The widest lens in the Fujifilm GF lens series is the 23mm f/4. With a field of view equivalent to 18mm in 35mm terms, this lens is designed for landscape and architecture photographers. Due to the design difficulties and the resulting size of zoom lenses for larger sensor cameras, Fujifilm wisely opted to create a prime lens to satisfy the landscape lovers. The result is a compact package that only weighs 845g, making it the perfect companion for long hikes with one of the smaller GFX bodies such as the GFX 100S.
The GF 23mm is weather-sealed and functions, by the spec sheet, down to -10°C/+14°F. A nine-blade circular aperture provides smooth roll-off into the moderate bokeh that can be created with this combination of aperture and focal length. Odd numbers of aperture blades are always preferable on lenses designed for landscape photography, as sun stars will have twice the number of spikes as there are aperture blades. Eighteen points for this lens, then. There would be the same number of points as blades with even numbers.
The lens design features 15 elements in 12 different groups. A large number for such a compact lens shows how much effort Fujifilm has put into controlling distortion and edge-to-edge sharpness with this lens. Amongst those elements are two aspherical elements, three ED elements and a Super ED element. A Nano GL coating has been applied to several lens elements to increase contrast and control flare. A petal-shaped lens hood is also provided.
Fujifilm GF 30mm f/3.5 R WR
The GF 30mm f/3.5 lens has an equivalent field of view to a 24mm lens in 35mm terms. This makes it an excellent general-purpose wide-angle lens for landscape, architecture, travel, street and reportage photography. Compared to the 3:2 aspect ratio of 35mm cameras, the 4:3 aspect of the GFX system often feels more immersive at wide angles. As such, many landscape photographers will be happy with this lens, even if they might have opted for something wider on a full-frame system. The reasonably fast f/3.5 aperture, combined with the wide-angle view, makes this the best astrophotography lens for the Fujifilm GFX system.
The physical design of this lens features a pronounced step shape. This creates a nicely hand-holdable but still large focus ring. It also means that the thread on the front of the lens is only 58mm, making screw-on filters much smaller and significantly cheaper to buy than those for the GF 23mm with its 82mm thread. This tapered shape keeps weight to a minimum, delivering an impressively light 510g package. This is a lens that could easily be carried all day, whether that be on an epic hike in the mountains or exploring the streets of far-flung cities.
At around $1700, the GF 30mm is also one of the best value lenses in the GF lineup. Despite the low-for-GFX-lens pricing, the build quality and weather sealing are exactly as we have come to expect with this system. A genuinely professional-grade lens will produce stunningly detailed wide-angle images on any GFX camera.
Fujifilm GF 45mm f/2.8 R WR
The GF 45mm lens is equivalent to a 36mm lens in full-frame terms. Most people will compare it to a 35mm lens, which is more common. This focal length is a classic walk-around prime lens option that is loved by street photographers, travel photographers, wedding photographers and portrait photographers who shoot a lot of environmental portraits. Although I doubt that too many people are using GFX cameras to photograph their kids and family, if you were, this is a focal length that can shine there, too.
I sound like a broken record about Fujifilm GF lens image quality. Especially with the prime lenses, they all display very similar characteristics and image quality. While lens ranges from some other manufacturers have been built out over many years, incorporating a wide array of new manufacturing techniques and technologies, the GF lenses have all come about in a short space of time. This means they have all been built with the same technology, using the same machines, and almost certainly even designed by the same engineers. Of course, they are all somewhat similar.
So, yes, the GF 45mm is optically very good. It displays a little more distortion than the 50mm and 63mm lenses, but that is to be expected as you approach wider focal lengths. It would be nice to see a GF 45mm f/1.7 lens in the future.
Fujifilm GF 50mm f/3.5 R LM WR
The smallest, lightest (335g), and cheapest lens in the GF lineup is the GF 50mm f/3.5. Don’t let the small design fool you, though. This is easily one of the best lenses in the lineup and would be my top pick for an everyday walk-around prime lens for the GFX system. Though most people assume a “standard” 50mm lens (in 35mm terms) is the focal length that best represents the in-focus view of the human eye, it’s much closer to 40mm. The GF 50mm field of view, in 35mm terms, is 40mm. Many people will find this to be a sweet spot between the classic 35mm and 50mm full-frame focal lengths served in the GF lineup by the GF 45mm and the GF 63mm.
Could this be the single standard prime lens you need for the GFX system? For many people, I think the answer is yes. Unless you need the f/2.8 aperture in the GF 45mm for a specific purpose, I believe the GF 50mm is almost always going to be a better purchase.
That is unless you like taking close-up photos. The one weak point of the GF 50mm is the somewhat poor 0.1x maximum magnification and 50cm MFD. The cost-saving between these two lenses is significant ($999 vs $1699), as is the size and weight savings in your bag or on your shoulder. This is the best value lens for the GFX system.
Fujifilm GF 63mm f/2.8 R WR
The GF 63mm lens has a field of view equivalent to a 50mm lens in 35mm terms and was among the three lenses that first launched the GFX system in 2017. The 50mm equivalent focal length is often a polarizing one. Some people swear by it as a general-purpose prime, and some people, myself included, don’t get along with it. I don’t seem to see the world through a 50mm viewpoint. Never have. I prefer something wider like the GF 50mm or GF 45mm. Optically there is nothing wrong with this lens, though. If you are a 50mm kind of shooter and want a fast aperture that can’t be provided by the 45-100mm or 32-64mm, then this is your lens.
And if you do pick this lens, you won’t be disappointed when you pixel peep those 50MP or 100MP images. As with the rest of the GF prime lineup, chromatic aberration is essentially a non-issue, and distortion is incredibly controlled. My only real complaint about this lens is that it feels quite large for a not-so-fast 50mm. At 405g, it’s not too heavy, but it is significantly larger than the GF 50mm. On the plus side, compared to the GF 50mm, the GF 63mm has a much better maximum magnification of 0.17x than the poor 0.1x MM of the GF 50mm.
Fujifilm GF 80mm f/1.7 R WR
The GF 80mm f/1.7 is the fastest GF lens and one of the fastest medium format lenses ever made. With a focal length equivalent to 63mm (in 35mm terms) and an equivalent aperture of roughly f/1.3, this is a very fast semi-standard lens. I use the term semi-standard here because most people probably consider the GF 63mm lens standard, with its equivalent 50mm focal length. An equivalent 63mm focal length is somewhat unusual.
It’s neither a standard general-purpose 50mm or something in the more traditional-for-portraiture 70-85mm range. That said, with its wide aperture and the GFX system’s large sensor, you are still able to create incredible background blur with this lens, making it the go-to choice for GFX system portrait photography.
This lens has a relatively complex optical design for a short prime lens. The 12 lens elements include one aspherical element and two “Super ED” elements which combine to give a maximum magnification of 0.15x and a minimum focus distance of 70cm (27.6″). The lens is weather-resistant, and the front element is fluorine-coated to repel dust and moisture. One additional interesting design point is that the aperture ring is not mechanical.
Fujifilm GF 110mm f/2 R LM WR
Professional portrait photographers are going to have a tough choice to make. Do you opt for the excellent 80mm f/1.7 or this GF 110mm f/2? It will likely come down to your shooting style. With a 35-mm equivalent of 87mm, the GF 110mm lens is better suited to tighter headshots and head+shoulder portraits. The wider 80mm lens (63mm equivalent) is better suitable for environmental portraiture or 3/4 to full-body studio shots. Both lenses are comparably sharp and create a roughly similar bokeh when used wide open with the subject at the minimum focus distance.
Fujifilm GF 120mm f/4 R LM OIS WR Macro
As the only macro lens in the GF lens range, this will be an easy choice if close-up images are something you plan to create with your GFX camera. Aside from nature photography, food photography is also a perfect subject for this lens. The minimum focus distance of the GF 120mm f/4 lens is 45cm, giving you a maximum magnification of 0.5x. Some will argue that a macro lens should have at least a magnification of 1:1, but I’ll leave that for you to decide. Whatever the case, this is by far the closest focusing GF lens you can get for the Fujifilm GFX system.
This lens also lands squarely in portrait photography territory with a 95mm focal length in 35mm terms. While the GF 110mm f/2 would be a better choice for someone concentrating on portraiture, due to the faster aperture and faster autofocus speed, the GF 120mm would be a fine choice for someone who shoots a variety of imagery and wants a tack sharp, dependable telephoto prime with image stabilization (OIS).
Fujifilm GF 250mm f/4 R LM OIS WR
The GF 250mm f/4 is the longest, largest, heaviest (1,425g) and most expensive ($3299) GF lens. It has a field of view equivalent to a 198mm lens in a 35mm format, taking it well into the telephoto range. This can be further extended by using the GF 1.4x converter to create a 350mm f/5.6 lens equivalent to a 277mm lens in 35mm terms.
If you’re coming from a 35mm full-frame system, this is a relatively uncommon focal length for a prime lens. In the full-frame world, such a focal length is usually covered by a 70-200mm zoom lens, making it a considerably more versatile option. The GF 250mm lens, then, is a specialised beast. Although it’s possible to use it for portraiture, the 80mm f/1.7 or the 110mm f/2 would be far better options. In part because the focal length is slightly less flattering, in part because this is not an easily hand-holdable lens for any significant period, and in part because the quality of the bokeh is better on the two shorter lenses.
Fujifilm GFX cameras have never been built with sports and fast action in mind, so while the focal length might lend itself to these subjects, I doubt many people will be considering it for this purpose. Instead, this lens should primarily be considered by landscape and nature photographers who gravitate to compositions that include heavily compressed elements or heavily isolated subjects. Myself, I’m a real sucker for layered and compressed mountains in my landscape shots. If I were a full-time Fujifilm GFX shooter, this lens would be in my kit for that reason.
What about shooting wildlife with the GF 250mm? Using the GF 1.4x teleconverter gets you close to a 300mm focal length in full-frame terms. While this isn’t going to be a long enough focal length for tight animal portraits, it is definitely enough to create beautiful images of large mammals within a landscape. For example, I’m thinking of elephants in Tanzania or a pride of lions on the Serengeti. When paired with one of the 100MP Fujifilm GFX cameras, this would also give you a significant ability to crop in on your subject. I would not buy this lens primarily for wildlife. Still, I’d consider taking it on a safari, paired with a Fujifilm GFX 100S as a second body alongside a Sony camera that had a more traditional 400mm or 600mm on it.
The lens barrel is constructed of magnesium alloy to keep it as light as possible. Of particular impressiveness on this lens is the beautifully dampened feel of the enormous focus ring. In front of this ring, you will find a focus preset switch, not seen on any other GF lenses. This allows the photographer to preselect a specific focal point or set of focus parameters and switch back to them quickly with a button press. Canon/Nikon/Sony super-telephoto lens users will be familiar with this feature. Although not pictured in the gallery, a lens hood is provided, as it is with all Fujifilm GFX lenses.
Fujifilm GF 1.4X TC WR Teleconverter
The GF 1.4x teleconverter (sometimes called an extender) is compatible with the GF 100-200mm lens and the GF 250mm lens. Note that it was initially launched alongside the monster GF 250mm, and this means that many websites, including B&H Photo, mistakenly say that it is only compatible with that lens. This is not the case. The GF 100-200mm lens was launched after the GF 250mm, and it is just as compatible with the GF 1.4x teleconverter.
Using the teleconverter will, of course, multiply your focal length by 1.4. As with all 1.4x teleconverters from any brand, for any system, adding this extension will also lower your maximum aperture by one stop. That’s just math and physics. There is no way to escape it. This creates a 350mm f/5.6 lens from the GF 250mm, and a 140-280mm f/8 lens from the GF 100-200mm.
Extension Tubes for Fujifilm GF Lenses
Extension tubes are spacers that sit between a lens and a camera body to shorten the minimum focus distance (MFD). In doing so, you lose the ability to focus to infinity but gain near-macro capabilities from nearly any lens. If you don’t want to spend money on a specific macro lens like the GF 120mm f/4 Macro, you can pair an extension tube with any other GF lenses to get a similar effect.
I have written a detailed guide to using extension tubes in the past. This article dives deep into the pros and cons of these accessories and details how to calculate what your new MFD would be for any particular lens, with any given extension tube.
Fujifilm makes two extension tubes for the GFX system: The MCEX-45G WR and the MCEX-18G WR. These are 45mm and 18mm extension tubes, respectively and are built to the same high standards as all the lenses in the GFX range. Uniquely as far as I’m aware, these extension tubes are also weather sealed. This just goes to show how much care Fujifilm has taken to create an accessory that matches the high standards of the lenses they will be attached to. They are not cheap by most extension tube standards, but they are a fraction of the price of buying a macro lens and well worth it for people who enjoy close-up photography of things like flowers or food.
5 thoughts on “A Complete List of Fujifilm GF Lenses and Their Specifications”
Deberiais hacer mucho mas aportes como esta. Gracias, Un saludo
Very good thanks
So informative for a newcomer to the GFX world, thank you very much!
I’m glad you found it helpful, Jess.
I think Fuji GFX would be a good fit for what I’m shooting now in the 35mm Nikon D850 world. The increase in sensor size is certainly a plus. What I don’t see is any feedback as to the clarity of the GFX 100s viewfinder vis-a vis manual focusing for image stacking. I sometimes suffer with the D850 and find myself shooting a few “runs” to cover a possible missed point of focus. Wondering if the electronic viewfinder on the 100s provides more clarity and (maybe I missed it) if the rear screen viewfinder provides colorized points of focus as the lens is racked. Also, and I’d rather not go there, the GFX 100 viewfinder’s resolution is likely better, but do I need to spend a chunk more change to get the focus result I require? Any input is welcome….