A Complete List of Fujifilm GF Lenses and Their Specifications

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. Now, with the launch of the GFX 50S II for the very reasonable sum of $3999, 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 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.

Fujifilm G Mount GF Lens Roadmap 2021-2023

Unlike some camera brands, Fujifilm is usually fairly open about upcoming lens releases and they publish a lens development roadmap. Currently, there are three unreleased lenses that appear on the latest version of the roadmap which was unveiled in September 2021.

• Wide-angle tilt/shift lens (2023) (Probably 30mm)
• GF 55mm f/1.7 (2023)
• GF 20-35mm (2022)

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. (EDIT: A 20-35mm lens was indeed added to the lens roadmap for 2022!)

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 35-70mm f/4.5-5.6mm WR

Originally launched 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 purchase 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. Weighing in at just 440g (15.5oz), with a compact collapsible design, it’s a great walkaround 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 are going to 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 great 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 useful.

Compared to the GF 32-62mm lens, it is smaller, lighter and much 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 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 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 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 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.