Fujifilm’s medium format GFX series of cameras has been incredibly popular among landscape and portrait photographers since the launch of the original Fujifilm GFX 50S, and subsequent launch of the cheaper GFX 50R, the pricy 100MP Fujifilm GFX100 and the GFX 100S.
While the GFX lens range for the camera’s G Mount was arguably 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 23mm to telephoto 250mm, and includes wide apertures such as the stunning GF 110mm f/2 and GF 80mm f/1.7.
If you are used to focal lengths for 35mm full-frame cameras, the focal lengths are going to seem a little different on the Fujifilm GFX series because the sensor is that 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.
Also, if you are unfamiliar with the names and nomenclature that Fujifilm use to describe their lenses, I recommend you read our previous article entitled Fuji Lens Terminology and Abbreviations.
A quick note on lens nomenclature
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 own documentation. In common parlance they are much more 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. Basically, as long as you are looking to learn about Fujifilm lenses you can stick on a Fujifilm GFX camera, you have come to the right page.
Fujifilm GF Lens Data Table
Table Notes
- The data in the tables can be re-sorted using the arrows in the header. For example, you could sort by lens weight, focal length or release date.
- Displaying large data tables on mobile devices is tricky. If you are viewing this on a phone, you can touch and scroll horizontally through the additional columns in the table. You’ll also have a better experience if you turn your phone horizontally.
| Lens Name | Release Date (MDY) | Focal Length | 35mm equiv. | Aperture Range | Angle of View | Length | Diameter | Weight | MFD | MM | Aperture Blades | OIS | Filter Size | Lens Design | Check Price |
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| GF 23mm f/4 R LM WR | 4/19/17 | 23mm | 18mm | 4-32 | 99.9° | 103.0mm | 89.8mm | 845g | 38cm | 0.09x | 9 | No | 82mm | 15 elements 12 groups | Amazon / B&H |
| GF 30mm f/3.5 R WR | 6/30/20 | 30mm | 24mm | 3.5-32 | 84.7° | 99.4mm | 84mm | 510g | 32cm | 0.15x | 9 | No | 58mm | 13 elements in 10 groups | B&H / Amazon |
| GF 32-64mm f/4 R LM WR | 1/19/17 | 32-64mm | 25-51mm | 4-32 | 81°-46.3° | 116mm-145.5mm | 92.6mm | 875g | 50cm-60cm | 0.12x | 9 | No | 77mm | 14 elements in 11 groups | Amazon / B&H |
| GF 45-100mm f/4 R LM OIS WR | 1/23/20 | 45-100mm | 36-79mm | 4-32 | 62.6° to 30.6° | 5.69" / 144.5mm | 3.66" / 93mm | 1005g | 65cm | 0.13x | 9 | Yes | 82mm | 16 Elements in 12 Groups | Amazon / B&H |
| GF 45mm f/2.8 R WR | 9/7/17 | 45mm | 36mm | 2.8-32 | 62.6° | 88mm | 84mm | 490g | 45cm | 0.14x | 9 | No | 62mm | 11 elements 8 groups | Amazon / B&H |
| GF 50mm f/3.5 R LM WR | 7/18/19 | 50mm | 40mm | 3.5-32 | 57.4° | 48mm | 84mm | 335g | 55cm | 0.1x | 9 | No | 62mm | 9 elements in 6 groups | Amazon / B&H |
| GF 63mm f/2.8 R WR | 1/19/17 | 63mm | 50mm | 2.8-32 | 46.9° | 71mm | 84mm | 405g | 50cm | 0.17x | 9 | No | 62mm | 10 elements 8 groups | Amazon / B&H |
| GF 80mm f/1.7 R WR | 27/1/21 | 80mm | 63mm | 1.7-22 | 37.7° | 3.9" / 99.2 mm | 3.7" / 94.7mm | 1.7lb / 795g | 2.3' / 70 cm | 0.15x | 9 | No | 77mm | 12 Elements in 9 Groups | B&H |
| GF 100-200mm f/5.6 R LM OIS WR | 1/17/19 | 100-400mm | 79-158mm | 5.6-32 | 30.6° - 15.6° | 183mm | 89.5mm | 1,050g | 60cm-160cm | 0.2x | 9 | Yes | 67mm | 20 elements 13 groups | Amazon / B&H |
| GF 110mm f/2 R LM WR | 4/19/17 | 110mm | 87mm | 2-22 | 27.9° | 125.5mm | 94.3mm | 1,010g | 90cm | 0.16x | 9 | No | 77mm | 14 elements 9 groups | Amazon / B&H |
| GF 120mm f/4 R LM OIS WR Macro | 1/19/17 | 120mm | 95mm | 4-32 | 25.7° | 152.5mm | 89.2mm | 980g | 45cm | 0.5x | 9 | Yes | 72mm | 14 elements in 9 groups | Amazon / B&H |
| GF 250mm f/4 R LM OIS WR | 4/12/18 | 250mm | 198mm | 4-32 | 12.5° | 203.5mm | 108mm | 1,425g | 1.4m | 0.22x | 9 | Yes | 82mm | 16 elements 10 groups | Amazon / B&H |
| GF 1.4X TC WR | 4/12/18 | N/A | N/A | N/A | N/A | 26.7mm | 82mm | 400g | N/A | N/A | N/A | N.A | N/A | 7 elements 3 groups | Amazon / B&H |
Fujifilm GF Zoom Lenses
Fujifilm GF 32-64mm f/4 R LM WR
The GF 32-64mm lens was one of the three lenses that launched with the original Fujifilm GFX 50S medium format camera. This standard zoom lens covers a focal range that is equivalent to a 25-51mm lens in full-frame 35mm terms. For landscape and travel photography, this gives you a very versatile walk-around lens option. Somewhat strange, though, is the huge focal length overlap with the launched-at-a-later-date GF 45-100mm lens.
As it stands in early 2021, this part of the GF lens range makes the least sense to me. At the launch of the GFX system, it was a much-needed lens because few other lenses were available. But now we have gone on to get a GF 45-100mm and a GF 100-200mm lens. Surely the wider lens should be something like a GF 20-45mm to complete a perfect medium format trifecta? This would make sense, right? I personally think we will see something like that launched in late 2021 or early 2022. It seems like the most obvious next step for Fujifilm.
I digressed, slightly. Let’s get back on track because despite the slightly odd focal range, 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 optical performance is very good. The 14 lens elements contain three aspherical elements to combat spherical aberration, as well as 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, (relatively) lightweight GFX camera kit.
If I was going to 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 45-100mm f/4 R LM OIS WR
The GF 45-100mm lens is a standard zoom lens with a very versatile focal range. Equivalent to a 36-79mm lens in full-frame terms, this is a lens that 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 the inclusion of 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 particularly useful 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 that 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 definitely take the 45-100mm, and then add the excellent value GF 30mm prime lens to cover wider subjects. That would be an excellent 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). In full-frame terms, this lens covers a range from 79-168mm 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 option 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 huge amount of bokeh at the wide end, but by the time you zoom to the 200mm end of the range, it creates considerable background blur. 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. From an image quality standpoint, this lens is very good but not exceptional. 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 extremely uniform across the frame, which is not unexpected from a zoom with this sort of focal range. A pairing with the 45-100mm would be a truly 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 is a lens 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. 18 spikes for this lens, then. With even numbers, there would be the same number of spikes as there are blades.
The lens design features 15 elements in 12 different groups. A large number for such a compact lens, going to show 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 of the lens elements to increase contrast and control flare. A petal-shaped lens hood is also provided.
Fujifilm GF 30mm f/3.5 R WR
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Lens hood reversed on lens. -
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Lens hood.
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 fairly fast f/3.5 aperture, combined with the wide-angle view, also 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 also 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. The is a truly professional-grade lens that will produce stunningly detailed wide-angle images on any GFX camera.
Fujifilm GF 45mm f/2.8 R WR
The GF 45mm is equivalent to a 36mm lens in full-frame terms. Obviously most people will simply compare it to a 35mm lens which is much 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 own kids and family, if you were, this is a focal length that can really shine there, too.
I sound like a broken record when talking about Fujifilm GF lens image quality. Especially with the prime lenses as they all display very similar characteristics and image quality. While lens ranges from some other manufacturers have been built out over the course of 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 does display 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 diminutive 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 actually 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 right between the classic 35mm and 50mm full-frame focal lengths which are 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 really 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 really 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 has a field of view equivalent to a 50mm lens in 35mm terms. It was among the three lenses that first launched the GFX system with the GFX 50S camera 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 just don’t seem to see the world through a 50mm viewpoint. Never have. I much 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 well 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, compared to 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 of the GF lenses 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 to be 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 110mm f/2? It will likely come down to your personal 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 suited environmental portraiture or 3/4 to full body studio shots. Both lenses are comparably sharp and create a roughly similar amount of bokeh when used wide open with the subject at the minimum focus distance. The 80mm lens is $2299, while the 110mm is $2799.
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 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.
With a 95mm focal length in 35mm terms, this lens also lands squarely portrait photography territory. 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) of the GF lenses. It has a field of view equivalent to a 198mm lens in 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 which is 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 great period of time, 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 was a full-time Fujifilm GFX shooter, this lens would definitely 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 some beautiful images of large mammals within a landscape. I’m thinking of elephants in Tanzania or a pride of lions on the Serengeti, for example. 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, but I’d definitely 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 in an attempt to keep it as light as possible. Of particular impressiveness on this lens is the beautifully dampened feel of the huge 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 press of the button. Users of Canon/Nikon/Sony super-telephoto lenses will be used to 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 originally 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. 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 of the other GF lenses to get a similar effect. I have written a very detailed guide to using extension tubes in the past, and this article dives deep in the pros and cons of these accessories, as well as detailing 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. Which 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.
Fujifilm G Mount GF Lens Roadmap 2021
We are currently awaiting an update to this roadmap. Unlike some camera brands, Fujifilm is usually fairly open about upcoming lens releases and they publish a lens development roadmap. The current roadmap, however, does not include any new lenses since the 30mm and 80mm lenses have now been officially launched. Time for an update, Fuji!
