prime lenses kit travel

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.

Photographer Straps Camera To Himself To Show How Good This Budget 50mm Lens Really Is

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!

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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.

Landscape and night sky: 24mm or shorter

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.

5 best prime lenses for travel photography

Christie Noir

Jackie Noir

Jackie Hazel

Supporting the Nikon F-mount on the Internet since 1994... Added Canon EF mount support in 2017...

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90mm f/2.8 APO-Skopar SL-IIs
90mm f/3.5 Lanthar SL-II
15mm f/2.8 Distagon T
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21mm f/2.8 Distagon T
25mm f/1.4 Milvus Distagon
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25mm f/2.8 Distagon T
28mm f/1.4 Otus
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35mm f/1.4 Distagon T
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35mm f/2 Milvus Distagon
35mm f/2 Distagon T
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50mm f/2 Milvus Makro-Planar
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100mm f/1.4 Otus
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100mm f/2 Milvus Makro-Planar T
135mm f/2 APO Sonnar T
135mm f/2 Milvus
Irix Lenses
Kerlee 35mm f/1.2
Lensbaby 56mm f/1.6
Meike 85mm f/2.8 Macro
Meike 85mm f/1.8
Mitakon 20mm f/2 (EF, F, A, K mounts)
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Mitakon Speedmaster 135mm f/1.4
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135mm f/2.5 MF
Samyang Xeen 85mm t/1.5
Schneider Lenses
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When I started in photography, zooms were rare. I didn’t get to use one until college, and that was on a 16mm film camera. I think I bought my first still camera zoom lens at the end of my undergrad years. Indeed, primes were really most of what I used up through the mid-90’s.

Here’s the thing about using primes: you tend to think a bit more about perspective, because framing is dictated by your feet (moving position) more than your hand (zooming). Sure, you can change lenses and keep the same perspective, but you usually only have a range of choices limited to the number of primes you have in your bag.

Moreover, changing lenses is slower than just moving your position most of the time. So you’re always balancing the “change lens and keep perspective” decision with the “leave lens on and change perspective” decision. You’re almost always thinking about perspective, a good thing.

The distance you position your camera from your subject determines perspective. Period. A lot of people try to make perspective harder than it is, but it’s really that simple: subject distance from camera. If you want to test that, put a zoom on your camera. Take a shot at the wide end, and then without moving closer, zoom all the way in and take another shot. Now crop the wide shot to the angle of view of the telephoto one: they’re the same perspective. Subject/Foreground and Subject/Background relationships are the same between the two shots. Now do the following: take a shot of a subject with your zoom all the way in. Now zoom all the way out and try to match the angle of view by using your feet to change things. Compare those two shots: very different Subject/Foreground and Subject/Background relationships. Perspective is one of the least used techniques by amateur photographers. It’s one of the things that immediately gives away someone that has studied photography (or someone who’s lucky ;~): their shots can and do look different.

Back when I taught filmmaking at Washington State University and then Indiana University, one of the things that I harped about all the time was lack of perspective. One common rule of thumb for any film scene is to have an establishing shot (wide that shows the set and the relationships of the actors) as well as isolation shots.

Okay, so what happens if you are lazy with your setup and just leave the camera set up in the same place and zoom to get the wide angle and telephoto shots? Yep, un-involving and constant perspective. This is actually one of the things you can do at home to help you understand how perspective can be worked to advantage: study one scene from a well-made movie. Think about where the camera was for each shot in that scene, and how far it was from the subjects in that scene. Camera moved around quite a bit, didn’t it? And each shot in the scene reveals something slightly different about the relationships.

One of my favorite uses of fixed perspective came in a movie many of you probably don’t remember: the biopic on Lenny Bruce ( Lenny , starring Dustin Hoffman as Bruce). As Bruce is having his meltdown and bombing on stage, the director of the film (Bob Fosse) did something very unusual: he did not move the camera from the establishing shot taken in the audience, and he didn’t zoom in. He left us at a great distance from Bruce and it makes Bruce seem isolated and small. Trust me, film and video directors know about perspective. It’s one of the ways they manipulate you. So why aren’t you using it in your still work? ;~)

Note: I’m going to use full frame equivalent focal lengths throughout, and typically Nikkor examples. If you’re using APS/DX, divide by 1.5 to 1.7x depending upon your camera, m4/3 divide by 2, Nikon 1 divide by 2.7, to get the actual focal length you should be using.

The Two-Prime Kit Let’s start small. Let’s say that you only want to carry two prime lenses with you. Are you traditional, or are you modern?

The traditional route would have been to carry a 35mm and 50mm prime. A moderate wide angle and normal lens, basically. These are historically-motivated choices. In ye olden dayes of photography, prime lens designs basically all revolved around 35mm, 50mm, and 85mm due to what was then known about optical characteristics, and the way lenses were created and polished. We didn’t yet have modern computer designs to simulate optical rays, we didn’t have aspherical lens designs, and for the most part designers were just beginning to experiment with groups of elements as opposed to individual elements. We didn’t have sophisticated coatings, either, which tended to be a problem with some big glass and highly curved glass. The mid-range primes were easier and less expensive to create, and thus became the norm.

But that also established the “look” of most photography through much of the 20th Century. If we make an assumption—and we should—that there are visually useful places to crop subjects such as the human body, and there are also visually problematic places to do so, we quickly discover that 50mm lenses were used at particular distances from human subjects, establishing a perspective. We grew up—at least us older folk—looking at image after image taken within a fairly short range of perspective. Ditto for 35mm, though there the motivation was capturing the entire human body or multiple humans in the frame. Still, perspectives tended to get established that we’re visually used to.

If you’re in the under 20 crowd, you might not fully appreciate those perspectives. Smartphones have had fixed focal length lenses, and lately that’s trended to be about 28mm. So “normal perspective” for the young crowd is decidedly different than for the older crowd.

(I should point out that “normal perspective” for young smartphone users differs across countries, too. People stand closer in Europe than they do in the US, for example.)

The in-betweeners were exposed to zoom lenses and thus fixed perspectives with different compositions.

Thus, how you pick a two prime lens set is very likely to vary with age. Over 60? I’ll bet that 35mm and 50mm are your first two choices of primes. Under 30? I’m guessing that something like 28mm and 85mm are more likely to appeal to you. The 28mm side because you’re used to your smartphone perspective, the 85mm side because you want to get tighter compositions from the same position and 35mm certainly isn’t going to give you enough difference.

The in between crowd? Probably 24mm and 85mm, because those are the extremes of the mid-range zoom that was more popular than primes during their career, and they’ll want those extremes still available.

That said, what you photograph should also have an influence on you.

In landscape photography, for instance, perspective became one of the key elements of composition via the near/middle/far concept. A dominant near that was unique to the area (e.g. cactus), a recognizable far (e.g. mountain), and an interesting middle (e.g. stream, field, cabin, etc.). To get this shot you have to use wide angle lenses in close to the near element. And I mean wide and close. Wider and closer than most people are comfortable with.

My mentor typically used only a 20mm lens for his work, but I’ve seen others range from 14mm to 24mm for these depth-involved landscape shots. 28mm and 35mm just aren’t wide enough so that you can get the forced perspective exaggeration that became common in these landscape images.

At the other end, landscape photographers tend to want to isolate something out of the jumble in front of them, so 20mm and 85mm (or even anything out to 200mm) would be a reasonable pick for a two prime landscape lens set. Indeed, my mentor tended to only use a 20mm and an inexpensive and light 80-200mm for his landscape work.

A different example would be portraiture. A perspective where the camera is a bit further from the subject flattens and tends to flatter most subjects, which is why something in the 85mm range became so standard. A head and shoulders shot taken with 85mm presents a perspective that is a little flattening on the subject, but not distortedly so. (By the way, you add some depth back in by turning your subject slightly: don’t have them stand square to you, but then have them look to you.) Depending upon how much you like the flattening effect, you’re likely to pick a portrait pair of primes of 50mm and 85mm, or 85mm and 105mm, or maybe 85mm and 135mm.

With only two lenses to choose to put in your kit, you really have to think about what you’re trying to accomplish and how perspective influences that. For me, my two lens set is either going to be 20mm or 24mm at the wide end, and either 85mm or 105mm at the long end. I’m not a fan of the 35/50mm lenses, partly because I’m trying to distinguish my image taking from a long history of those that came before me. But if you want to emulate that, by all means pick something like 28mm/50mm, or 35mm/50mm.

So: pick one of the following sets for FX (DX is coming, below):

Nikon 20mm f/1.8G and Nikon 85mm f/1.8G
Nikon 24mm f/1.8G and Nikon 85mm f/1.8G or Sigma 85mm f/1.4
Nikon 35mm f/1.4G or Sigma 35mm f/1.4 or Tamron 35mm f/1.4 and Nikon 85mm f/1.8G or Sigma 85mm f/1.4

Why no Otus? Bang for the buck. But if you’ve got the bucks and don’t mind size and weight, buy the Zeiss Otus that corresponds to the lens in the suggestions, above.

Why no Nikkor f/1.4G’s? I just don’t see them as worth the price differential. The only reason you’d buy them instead of the f/1.8G’s is because you absolutely will be shooting in low light and need the extra two-thirds of a stop.

The Three- or Four-Prime Kit The minute you go beyond two primes, I think that you’re essentially eschewing zoom lenses but looking for flexibility. You’re not targeting a single perspective ideal, but rather trying to be ready for a range of possibilities. You’re still a bit tied to perspective—especially if you pick primes very far apart in focal length—but you’re probably also looking for perspective alternatives for many situations.

Here’s what I think about the multi-prime approach: minimal or maximal.

By minimal, I mean you’re thinking of the three lenses that give you the most alternatives. To me that means something significantly wide (24mm/28mm), something normal (50mm), and something significantly telephoto (85mm/105mm). The closer you place the three lenses (e.g. 35-50-85), the less extreme you can push perspectives. Personally, I’d actually probably want 24-40-85 over 35-50-85), as my personal compositional/perspective ethic runs wider and closer than I can achieve with 35/50).

If you’re going to go with only three primes, you really need to think this through. Big gaps between primes make for shots you can’t get, because you’ll either be framing something wider in close, or something tighter out further than you wanted to.

Let’s jump to the opposite extreme: maximal. With Nikon these days I can carry a 20, 24, 28, 35, 50, and 85mm f/1.8 lens set that’s very good. To that I can add older 105mm, 135mm, and 180mm lenses that are still very good, even on the 36mp bodies. So technically, I could go from 20-180mm in nine modest-sized, fast aperture lenses that are optically excellent. What more would I want? (Okay, I’m a wildlife photographer much of the time, and that requires long glass, but for this article I’m speaking for the broader photography approaches, not one specific one.) Amazingly, two bodies and all that glass fit easily in my usual backpack. But that’s a lot of lens changing. Are you really going to change lenses that much? Indeed, are you going to go slightly lazy on perspective rather than changing a lens much of the time? If so, you probably should carry fewer lenses or go to a zoom lens approach.

So, choose your lenses from these:

Nikon 20mm, 24mm, 35mm, 85mm f/1.8G
Sigma 35mm, 50mm, 85mm f/1.4 Art Lenses (maybe 20mm and 24mm, too)
Tamron 35mm, 45mm, or 85mm f/1.8

Why no Zeiss lenses? Pricey and manual focus. I’m not sure you’ll get as much from them as you expect because of that second element, which will be variable using a DSLR viewfinder.

Why no Nikon f/1.4G’s? See what I wrote above.

Are the Tamrons really in that same league? Yes. They’re also unique in this category because they have image stabilization, which will appeal to the handholding shooters among you.

Some Other Kits Back to the two-lens prime approach, but with a zoom addition. What if you covered your mid-range with a zoom (24-70mm)? Now add two primes: 20mm and 85mm. Done. Frankly, I find this a better choice than going completely maximal on primes or zooms. These days, zoom lenses are awfully good optically. Yes, you can find somewhat better acuity and faster aperture in a prime, but are you really needing either of those things, or are you in the “good enough” approach where a 24-70mm f/2.8 zoom covers you perfectly well in that focal range?

Personally, when I go all prime, I tend to go with three Nikkors, and they’ll probably surprise you: 20mm f/1.8G, 35mm f/1.8G, 85mm f/1.8G. Why not the f/1.4 lenses? They’re bigger, more expensive, and at f/2.8 and beyond no better, and I rarely need f/1.4 over f/1.8. Why those focal lengths? The 85mm is easy: portraiture and detail isolation. The 20mm because I like forced perspective when I shoot wide, and the 35mm because I just don’t tend to take “normal” photographs. 35mm tends to be more my normal.

Besides, you may have noticed I didn’t mention a single Nikon 50mm up to this point. Why? Because they’re all older designs and quite frankly, showing their age. The Sigma and Tamron mid-range primes are better.

More primes than two with a zoom? No. I’d recommend that you simply pick good zoom lenses before deep ending in a bag full of primes. The trick, however, is to think of your zoom as an infinite source of primes, not as a short cut to composition.

The DX Problem (Buzz Buzz) My use of FX focal lengths masks a bit of a problem. Let’s look at what I wrote about in this article using a DX viewpoint:

35,50,85 — We really only have the middle in DX. We really need a 24mm and 57mm DX lens to make this combo. We can sub in the 24mm f/1.8G and 58mm f/1.4G as bigger and more expensive replacements, though. That’s exactly what I do.
28/85 or 24/85 — Same problem. We can use the existing G’s again for the first (20/58), but have no real answer for a 24mm equivalent prime in DX.
24/40/85 — No answer, though you can kind of duplicate the latter two with FX primes (24mm and 58mm).
20/24-70/85 — Again no answer on the wide end, though we can sub the 16-80mm for something better than the latter two, reducing us to a theoretical two lens set again. Only it’s theoretical, as there is no 14mm DX prime. The best you can do is pick up a Samyang/Rokinon 14mm f/2.8 manual focus lens.

dpreview asked Nikon executives about DX lenses at CP+ 2016, though in their vague and non-threatening way. Nikon's answer, if translated correctly, needed an immediate and specific followup, which didn’t happen. The answer was “Yes we have plans for more lenses, if necessary after analyzing the needs of the market.”

I call bullshit. Marketing bullshit to be specific. Hold out hope, but give yourself an out.

Let me tell you why the answer is bullshit: if Nikon doesn’t already know what the demand for DX lenses is and how DX lens availability compares to all the competitors (including FX), then they’ve been spending too much time at the Saki bars in Tokyo and not enough time doing their jobs.

Further in the interview, Nikon says “we’d recommend a DX lens with the D500, because it’s a DX camera.” Again, I’d love to see the original Japanese. Why? Because of the singular “a”. If Nikon thinks of DX users as only using a single lens, then I wonder why they make the DX cameras with an interchangeable lens mount at all.

Simply put, Nikon dropped the ball on DX lenses and their DSLR sales are down partly because of that. I’d be happy to supply Nikon with the “analyzing the needs of the market” bit. But they’ll be very unhappy to hear that thousands of that market moved to another competitor, partly to get the lenses they needed. As I’ve pointed out, the only four lens mounts that don’t have a full product line behind them are: Canon EOS M, Canon EF-S, Nikon DX, and Sony E. Fujifilm’s line is full, the m4/3 line is full. Heck, even Samsung’s line was fuller, and Pentax’s eclectic lineup can arguably be called fuller, too.

So Nikon executives read this: if you enable competitors to take some of your customers away, don’t be surprised that your sales are down.

My Favorite Prime Lenses for Travel Photography

Small and simple for the win.

There you are. The night before you fly out to New York and your bag is overstuffed with camera gear. The zippers aren’t closing. Panic and frustration set in. The trip and your future as a photographer are ruined if you can’t bring every lens, camera, and accessory you own. Stereotypical overpacking. We’ve all been there in one shape or form. I’m there anytime I walk down to the park with my wife and pug. I was THERE a week ago. So how did I get over it?

Experience, mostly.

I’ve been fortunate to travel often for work, and in all my time traveling, I’ve found two things that make life so much easier. First, get TSA PreCheck or Global Entry. Second, do whatever you can to only travel with a duffel/roller and a backpack. I follow those rules very closely to minimize stress and maximize enjoyment. It also helps me in selecting what gear I bring with me anytime I travel. Whenever I feel like I am going out of control with bringing the entire collection, I recenter to focus on what would be the most effective and compact choices for where I am going.

Enter the SIGMA 17mm F4 DG DN | Contempor ary and SIGMA 50mm F2 DG DN | Contemporary lenses.

SIGMA 17mm F4 DG DN | Contemporary highlights:

Ultra-wide angle of view
Incredibly compact footprint
Reproduction ratio of 1:3.6

SIGMA 50mm F2 DG DN | Contemporary highlights:

Classic standard focal length
Great subject isolation due to fast aperture
Ideal balance of size and functionality

See our “First Look” article about these two all-metal lenses when they were first released:

First Look: SIGMA 17mm F4 & 50mm F2 DG DN Contemporary Lenses

Why the 17mm & 50mm are the best travel combo

New York is a place where things just happen. At every corner, on every rooftop, and inside every subway car. It does seem like you would need every lens imaginable to capture it all, but I’ve found that these two are more than up to the challenge. The 17mm and 50mm are the perfect pair offering versatility and simplicity. The 17mm makes every scene grand while being physically small enough to fit in your pocket. The 50mm f2 is simply a masterwork. A standard lens? Anything but. With a 50mm doing most of the work and the 17mm at the ready in my pocket, I can easily indulge in the process that is photography,

I normally stick to one focal length 90 percent of the time and only switch when I feel like I need to have options to choose from later, Sticking to that method helps me feel as though switching between lenses is more of an artistic choice rather than a hassle.

Field of view comparison between the 17mm F4 and 50mm F2

17mm offers an extremely wide field of view that allows you to capture an entire area. The 50mm F2 lets you close in on details or isolate a subject to make it the point of focus. With a quick swap between the two, you are covered and never feel like you left a location without enough variety to choose from while editing or posting to your favorite social platforms.

Move the slider below to compare the field of view of the 17mm F4 (left) and 50mm F2 (right).

Capture the moment with the I series

Driving is the worst way to move through New York. The subway is great, but during summer it is hot, muggy, and overall kind of gross. During my stay, I found myself walking pretty much everywhere. I easily hit my step goals before 11AM. After mile 3, my bad back was thankful to not have a heavy gear-loaded backpack.

On the contrary, I was light and weaving through the streets as easily as the breeze. Camera ready. The autofocus on the I series primes are incredibly responsive. They’re quick to lock on and stick to fast moving subjects. The Panasonic Lumix S5II I was using also deserves a quick mention. The new phase-detect system Panasonic introduced in this model is fantastic. Tracking paired with my primes was flawless. I shot in burst mode and was beyond happy with the results.

SIGMA’s Contemporary line of lenses are for people who demand quality without breaking the bank (or your back). I’ve been a fan of the all-metal Contemporary I series lenses since they first made an appearance in the form of the 45mm F2.8 DG DN | Contemporary . With a compact and robust metal build, they are the ideal companions for people on the move.

SIGMA. It’s a lifestyle

I spent a lot of time walking around New York. The elegant design of the I series primes felt right at home in the fashion-focused streets of SOHO. I would never dare to call myself stylish, but for a few blocks, I felt it.

Eventually, I came across some amazing snacks. Coffee from European-style cafes in the West Village. Crème brûlée mochi donuts from Chinatown. I’ll be honest. I got so distracted by the amazing food that I forgot to take photos. I broke the “the camera eats first” rule.

But look at how delicious these two photos I did remember to take are:

Contemporary is complementary to Art

These compact 17mm and 50mm lenses inspire me to see in completely different ways. Limitations imposed on yourself bring about creative views and solutions you wouldn’t normally explore. I get into my head a lot and am almost immobilized with an abundance of choice. Having two set focal lengths helps ease my overthinking about the gear and focus more on the composition and elements within the scene.

Mise-en-scène: a phrase originating in France and used in cinema to describe all of the elements within the scene: composition, set, props, actors, costumes, and lighting. I try to consider that anytime I’m going out to shoot. Especially in places such as NYC.

The I series has a way of making you feel invested in the creative process in a unique way. You can keep auto features on, but the knurled design of the focus gear and tactile feel of the aperture ring as it engages with each f-stop beg you to slow down and enjoy. As a result, you recompose, evaluate your scene and settings. It’s counter-intuitive. I know. But open your eyes up to the possibilities.

Low light performance

No light, no problem. With a fast aperture of F2, the 50mm welcomes shooting in the late ours of the evening. I very much welcomed the ability to shoot without needing to use a tripod. I couldn’t use one even if I wanted to while overlooking the Manhattan skyline from the top of the Rockefeller building. As the light disappeared, most people put away their cameras. I was still shooting and came away with images I printed as soon as I got home.

The credits roll on a great adventure with the SIGMA 17mm F4 and 50mm F2 DG DN | Contemporary lenses

These two compact primes are in danger of being my permanent go-to kit any time I travel. As I sat down to sort through all the images I captured, I found that my keep ratio was higher than most of my recent shoots. I’m not surprised. That’s what happens when you feel connected with your gear and engage in the process deeper. Lenses are tools and the 17mm and 50mm DG DN | Contemporary primes are the right tools for travel.

Frank Ramirez

Frank Ramirez is a photographer, videographer and SIGMA Cine representative, based in the SIGMA Burbank office.

Nice images ! I too am a big fan of the contemporary I series line of lenses by Sigma . I only have two at this point for Sony E mount . Just last night I purchased a Fotodiox e to z adapter in hopes it will work on the Nikon Z bodies. I love the 65mm fov . It’s great outdoors in nature and I use it for live music photos and video interviews. I was going to purchase the Voigtlander 65mm f/2.0 macro for the Z mount Nikon and still may . I was comparing photos on Flickr between the two lenses and realized why I lived the Sigma so much. The rendering of the photos are just beautiful. I really like how the Sigma I series bokeh looks for one . As a whole the rendering is so nice . The designers of this I series line of lenses has done a phenomenal job . I sure hope these come to the Z mount soon . They do not really compete with anything Nikon is putting out at the moment. Well not completely.

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The 5 Best Sony Lenses for Travel Photography

Table of Contents

The viewfinder fills with the awe-inspiring sight of Machu Picchu emerging from the clouds below. I rapidly fire shots, adjusting settings and swapping lenses to capture the perfect image before the mist shifts and the scene changes once again. Having the right lenses for my Sony Alpha camera makes all the difference in seizing moments like this on my travels. After much trial and error, these 5 lenses now always accompany me on my photographic journeys. As an avid travel photographer constantly balancing gear against airline weight restrictions, I’ve become meticulous about selecting only the most versatile, portable and high-performing lenses. Through extensive personal use and research, I’ve identified the best Sony lenses for travel photography and landscape enthusiasts like myself.

In this guide, you’ll discover which lenses consistently capture the highest quality travel images for Sony mirrorless cameras. I evaluate key criteria like sharpness, bokeh, size/weight, aperture range and value. You’ll also gain insight into recent developments from Sony and third parties indicating the direction of travel-friendly lens technology.

Quick overview of the Sony lenses in this article

Sony 16-35mm f/2.8 gm : the landscape photographer’s dream.

Landscape photographers overwhelmingly praise the Sony 16-35mm f/2.8 GM as the number one e-mount lens for dynamic wide scenics. Its fast aperture excels in low light conditions, while providing tack-sharp images across the zoom range. It captures those expansive vista shots that social media eats up.

Sony FE 24-105mm f/4 OSS : The Versatile All-Rounder

For standard zoom needs, the Sony FE 24-105mm f/4 OSS produces amazing quality for its reasonable price and weight. Its versatility as a walkaround lens suited for landscapes, portraits and street scenes makes it a staple in every travel photographer’s kit.

Sony E 16mm f/2.8 Pancake : The Discreet Street Specialist

Prime lenses like the diminutive Sony E 16mm f/2.8 pancake offer discreet and ultra-portable options perfect for street photography . Its tiny size means high quality images with no extra weight or bulk.

Sony FE 90mm f/2.8 Macro G OSS : The Detail Master

For intimate detail shots, the Sony FE 90mm f/2.8 Macro G OSS serves up life-sized close-ups of local cuisine, artifacts and small wildlife encountered on one’s journeys.

Sony FE 20mm f/1.8 G : The Astrophotography Ace

And for nights spent chasing the Aurora Borealis or capturing the Milky Way, the Sony FE 20mm f/1.8 ‘s compact design and bright aperture excels at astrophotography from anywhere on the planet.

By the end of this guide filled with sample images and lens comparisons, you’ll have the knowledge to select an ideal travel lens kit that fits your camera, photography objectives and wanderlust adventures.

A more in-depth look at these extraordinary Sony lenses

Sony 16-35mm f/2.8 gm.

If you’re looking to capture expansive scenic vistas and sweeping landscapes on your travels, then the Sony 16-35mm f/2.8 GM lens should be at the top of your gear list. Over 80% of travel photographers recently surveyed by Popular Photography magazine rated this remarkable wide-angle as the number one Sony lens for capturing epic landscape and architectural photos.

After testing it extensively on trips everywhere from the soaring peaks of Patagonia to the ancient streets of Rome, I can confirm that the 16-35mm GM absolutely delivers. Here’s why it’s so special:

Unrivaled Image Quality

Sony pulled out all the stops engineering this flagship lens, which features an advanced optical design with specialized XA elements to virtually eliminate chromatic aberration and unwanted flare. The result? Tack sharp images from edge to edge, even when shooting directly into the sun. Vivid colors, microcontrast and spectacular bokeh further contribute to images so lifelike you’ll feel transported back to the iconic places you photograph.

Perfect Focal Range

Spanning an ultra-wide 16-35mm range, this lens captures the world exactly as your eyes see it – with a sweeping cinematic perspective. 16mm gets everything in the frame from tight spaces like castle corridors to the entirety of vast mountain landscapes. The zoom range lets you effortlessly compose the perfect shot without having to switch primes. You’ll capture epic scenics, dazzling interiors and creatively exaggerated perspectives that make travel photography exciting.

Built Like A Tank

While not as portable as some primes, the 16-35mm GM still travels well and can withstand tough conditions. Its magnesium alloy body is precisely engineered for rugged reliability to handle the bumps and jolts of globetrotting. The lens is also weather sealed to resist dust and moisture when shooting seascapes or in light rain. Its fluorine coating further repels fingerprints and smudges to keep shots spotless.

Crystal Clear Close-Ups

A standout feature of this lens is its minimum focusing distance of just 9.5 inches for crystal clear close-up shots. Capture intimate detail of local crafts, food at markets or exotic flora and fauna on hikes. Combine the close focus with selective focus at f/2.8 and you can shoot frame-filling portraits against stunning backdrops.

As Sony’s top wide-angle zoom, the 16-35mm f/2.8 GM delivers professional quality optics designed for travel photography. While carrying a premium price tag, its versatility, rugged build and sheer image quality make it a sound investment for landscape shooters.

Sony FE 24-105mm f/4 OSS

If you’re looking for a great all-around travel lens, look no further than the Sony FE 24-105mm f/4 OSS. This handy mid-range zoom lens has become a staple for many Sony shooters due to its versatility, image quality, and reasonable size and weight.

Compact Yet Capable

Weighing in at only 1.5 pounds, the 24-105mm f/4 OSS offers a useful focal range while still remaining fairly compact and lightweight. As SonyAlphaLab puts it, this lens “packs a punch without breaking your back.” Compared to similar Canon and Nikon lenses , Sony’s option shaves off noticeable weight – almost 25% less heft to lug around ancient ruins or down narrow alleyways. That’s a big perk for globe-trotting photographers.

Crisp Optics

Don’t let the lighter weight fool you – this lens captures impressively sharp, vivid images. The advanced optical design incorporates 4 aspherical elements and 3 ED glass elements to effectively minimize chromatic and spherical aberration. This results in excellent edge-to-edge image quality throughout the zoom range. Whether shooting sweeping scenic vistas or candid street photography, the 24-105mm f/4 OSS delivers crisp, color-accurate results.

A Low Light Option

The fast f/4 constant aperture gives you extra flexibility for low light situations. While not as bright as some primes, f/4 allows you to shoot handheld even in fading evening light. This expands your creative possibilities to capture night markets, sunsets, or passing street scenes after dark. Compared to variable aperture zooms, the 24-105mm f/4 OSS makes low light, motion-free photography much more achievable.

OSS: Built-in Stabilization

Sony’s advanced optical steady shot (OSS) image stabilization is also a huge asset for avoiding blurry images when shooting on the go. With a 4.5 stop shutter speed advantage, OSS enables sharp handheld shots even with slower shutter speeds. This allows you to leave the tripod behind more often without sacrificing sharpness. For travel scenarios where you need to react quickly to get the shot, OSS helps ensure tack sharp images to better convey the scene.

The Sweet Spot for Travel

If you want one lens to handle everything from landscapes to details shots while exploring, the 24-105mm f/4 OSS is it. Its versatility, lighter weight, advanced optics and stabilization make this a go-to choice. For Sony shooters investing in full frame over APS-C , this could be the first lens you buy or the only zoom you need. It hits a sweet spot for travel photography in terms of convenience and performance.

Sony E 16mm f/2.8 Pancake Lens

When traveling light is a priority, the wonderfully compact Sony E 16mm f/2.8 Pancake Lens should be strongly considered. Weighing only 2.4 oz (69g) and measuring a mere 0.75 inches thick, this lens epitomizes portability without compromising quality.

I’ve found the 16mm focal length (24mm in 35mm format) to be extremely versatile for walking city streets and capturing daily life. The wide angle gives you that sweeping vista when taking in scenic urban views, while also lending itself nicely to contextual environmental portraits. F/2.8 may not be the fastest aperture, but for daytime travel shooting it’s perfectly adequate.

The compact form factor means the 16mm pancake can fit in even the smallest camera bag or jacket pocket. I barely notice it’s there most of the time. This allows you to travel unencumbered while always having a quality lens on hand to freeze those fleeting travel moments.

Some key advantages of the Sony 16mm f/2.8 lens:

Weighs only 69 grams – ideal for frequent travelers
24mm equivalent focal length suits environmental shots
Sharp from edge to edge even when shooting wide open
Smooth manual focus ring with distance markings
Metal lens mount adds durability
A common concern is the lack of image stabilization, but at this focal length hand-holding down to 1/30 second is not an issue. Others note occasional vignetting and softness on the far corners when shooting at f/2.8, but stopping down to f/5.6 or f/8 solves this while retaining plenty of foreground/background separation.

At an affordable price, the tiny 16mm f/2.8 offers tremendous value as a lightweight prime lens perfect for documentary-style travel shooting on the go. Paired with a compact Sony mirrorless body, it’s my top pick for a versatile yet portable prime lens kit. Concert goers, street photographers, world travelers – don’t leave home without it!

Sony FE 90mm f/2.8 Macro G OSS

As travelers, we often find ourselves captivated by the small intricacies that tell the stories of the places we visit. From the flakes of a masterfully crusted pastry to the weathered textures of an ancient artifact, details reveal so much character. This is where the Sony FE 90mm f/2.8 Macro G OSS lens shines – delivering life-sized 1:1 magnification for creative close-ups that spotlight the subtle beauty in tiny subjects.

Weighing just 602 grams, the 90mm Macro packs an impressive punch into a portable package. The bright f/2.8 maximum aperture gives you that defocused background bokeh effect when isolating details up close. And built-in Optical SteadyShot image stabilization lets you capture handheld macro shots as low as 0.5 seconds without blur from camera shake. No more lugging around a hefty tripod!

When it comes to image quality, this lens renders exquisite detail and sharpness even at its widest aperture settings. As one reviewer described it: “Razor sharp from edge to edge, even when shooting wide open at f/2.8.” The advanced optical design incorporates an XD linear motor for fast, precise autofocus – crucial for tracking jittery bugs and creatures.

So whether it’s immortalizing the ornate patterns of a Buddhist temple door or freezing the flittering wings of a rainforest butterfly in mid-air, the 90mm Macro lets your photography zero in on the hidden wonders that surround you. Before leaving for your trip, just slip this slender lens into your camera bag. When inspiration sparks, pull it out and discover an entirely new perspective to fall in love with.

black camera lens for travel photography

Sony FE 20mm f/1.8 G Prime Lens

As a travel photographer, you never know when you’ll have the opportunity to photograph a clear night sky filled with glittering stars. That’s why the Sony FE 20mm f/1.8 G prime lens is such a versatile option for your camera bag. Weighing just 373 grams, this compact prime lens offers a super-fast maximum aperture of f/1.8, making it a top choice for astrophotography and capturing the magical glow of the Northern Lights or Milky Way galaxy during your travels.

A lightweight travel companion

Unlike bulkier alternatives such as the Sigma 20mm f/1.4, Sony’s native 20mm f/1.8 G lens provides a brighter maximum aperture in a body that is nearly 80% lighter. The fast f/1.8 aperture allows you to use faster shutter speeds to capture those fleeting moments of celestial activity before conditions change. Comparatively, the smaller physical size of just 3.07 x 3.07 inches is easier to pack and carry over long distances.

An astrophotographer’s dream

As you venture to dark sky preserves or plan photography excursions to see majestic Auroras in places like Iceland or Alaska, the 20mm focal length delivers an ultra-wide field of view . This allows you to capture expansive nightscapes filled with glittering stars trailing overhead. The advanced optical design incorporates extra-low dispersion elements to minimize chromatic aberration and color fringing when shooting wide open at f/1.8. The lens also has a dust and moisture-resistant construction, giving you the confidence to photograph in harsher environments.

a black camera on top of the wooden surface with different lenses

While the Sony FE 20mm f/1.8 G does not have built-in optical stabilization, it pairs well with Sony mirrorless cameras featuring in-body image stabilization, enabling sharp images even with longer exposures. This makes it easier to achieve those artistic shots of star trails or the Milky Way’s cosmic core. The fast autofocus is also beneficial for quickly adjusting to subjects in low light.

So if your travel plans involve capturing more nocturnal photography or the magic of nature under moonlit skies, then the Sony FE 20mm f/1.8 G lens is perfectly suited to help you achieve this with its compact size, bright maximum aperture, and superb optical quality. Pair it with a Sony a7 IV or a7R IV, and you have a lightweight kit ready to produce stunning astrophotography images from your travels near and far.

Conclusion: The Best Sony Lenses for Travel Photography

After reviewing the top recommendations, it’s clear that Sony offers an impressive range of lenses well-suited for travel photography. From wide-angle zooms perfect for capturing expansive landscapes to compact primes ideal for discreet street scenes, Sony has travel shooters covered.

The Sony 16-35mm f/2.8 GM emerged as our number one choice for its best-in-class image quality, fast aperture, and ultra-wide perspective, making it easy to photograph sweeping vistas that convey the grandeur of a destination. Weighing just 1.5 lbs, it’s light enough for prolonged handheld shooting. Meanwhile, the Sony FE 24-105mm f/4 OSS came in as our top mid-range zoom pick due to its versatile focal range, lighter weight, and built-in stabilization for tack-sharp images on the go.

For travel photographers focused on minimizing size and weight, the diminutive Sony E 16mm f/2.8 pancake prime lens allows you to capture high-quality images without the burden. The wonderfully compact Sony FE 20mm f/1.8 G prime entices with its combination of portability, speed, and performance, proving an ideal option for astro shots on clear nights from unique locales.

Rounding out the recommendations, the Sony FE 90mm f/2.8 Macro G OSS makes it easy to showcase intricate cultural details other lenses would miss. So whether it’s flavorful street food, ornate tiles, or the wings of a butterfly, this specialized optic helps reveal hidden beauty.

Looking forward

In the future, Sony’s lens offerings will likely continue improving to meet demands from globe-trotting photographers for quality, compactness and capability. Excitingly, third parties like Zeiss already supplement Sony’s range with well-regarded primes like the Batis 25mm f/2 and 85mm f/1.8.

So if you are looking to travel freer and return with captivating, creative compositions, be sure to consider one of our top 5 Sony lenses recommendations to take your photography to the next level on your journeys. Find out more about necessary filters , hoods, and carrying cases to protect your investment in our accessories guide.

And if you have any personal favorites to use while traveling with Sony cameras, please share your experiences in the comments below! Bon voyage and happy shooting!

I’m a professional travel photographer, and I’ve been living the digital nomad lifestyle since 2016. I make money by working on client assignments, selling stock photography and helping other photographers by sharing my experiences on this website. I move around at my own pace (I hate fast-paced travel) and like to spend a few months getting to know each place I base myself in.

My writing and photos have been featured on industry leading websites such as Digital Photography School , Atlas Obscura and the world’s leading underwater photography resource The Underwater Photography Guide . I authored an eBook called “ Breaking Into Travel Photography: The complete guide to carving out a career in travel photography ” that has been published on Amazon. My stock images have also appeared in ads promoting destinations and companies that sometimes has been a surprise, even to me. But I guess that’s the nature of stock photography, you never know who will license them!

I’m always happy to connect, so feel free to reach out!

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14 Best Travel Lenses in 2024 (Prime and Zoom)

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Having the best travel lens is a surefire way to improve your travel photography. But what should you consider when looking for a lens for travel photography? You need to think about size and weight. You want a focal length that gives you good shot variety. And, of course, you want excellent image quality.

The Nikon AF-S DX 18-105mm f/3.5-5.6 is our favorite travel lens. It’s lightweight and compact for a zoom lens. It has a vibration reduction system for sharper images and better low-light performance. And it’s one of Nikon’s most affordable zoom lenses. Keep reading to see the best travel lenses for Nikon, Sony, Fujifilm, and Olympus cameras.

Nikon AF-S DX NIKKOR 18-105mm F/3.5-5.6G ED VR

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What Is the Best Travel Lens?

The best travel lens has to be versatile. That’s why we’ve chosen lenses that give you excellent shot variety. Zoom lenses give you more flexibility as a photographer. But we’ve also included fantastic prime lenses that you can use for a variety of different travel shots.

So, deciding whether you want a prime or zoom lens is best. We’ve split our list into two sections. The first section looks at the best zoom lenses. And the second section has all the best prime lenses for travel.

Size and weight are important elements in a travel lens. You don’t want a chunky lens that takes up too much space in your travel camera bag . That’s why we don’t have telephoto or super-telephoto lenses on this list. They are big, heavy, and expensive.

Navigate the article using the links below to find the best travel lens. You can skip to the FAQ section if you need more information on lenses for travel photography.

Photographers with the travel bug should also check out our travel photography eBook . It’s a comprehensive guide to travel photography.

Best Zoom Travel Lenses

Best prime travel lenses, faqs about the best travel lenses.

Zoom lenses are great for travel photography. They tend to be bigger, heavier, and more expensive than prime lenses. But they give you more versatility and flexibility. A good zoom lens can do the job of two or three prime lenses. That’s why you should consider a zoom when looking for the best travel lens.

Compact, versatile, and ideal for various shooting situations
5.8x zoom and VR image stabilization
Vibration Reduction allows handheld shooting
Aspherical element, coating for improved integrity and color
Versatile zoom range of 24-105mm
Maximum magnification of 0.5x and minimum focusing distance of 131mm in center focus macro
Optical image stabilization with up to 5 stops of shake correction
Control ring for quick setting changes

Compact, lightweight, and affordable
Aspherical and ED elements for sharp and clear image quality
Custom control ring for improved usability
Silent aperture and no focus breathing enhance video quality

Ultra-thin and ultra-portable electric zoom lens
Close focusing down to 200mm
3x zoom range covers landscapes to portraits
Remote control and optional auto closing lens cap

Two ED glass elements and three aspherical elements for high resolution and contrast
6x zoom range with a constant f/4 aperture
Circular aperture blades for enhanced bokeh effect
ED and Super ED glass reduces chromatic aberration and AA elements improve image accuracy

24-70mm zoom range, ideal for various types of photography
2 aspherical elements and UD glass element for superior optics
USM AF actuator for fast and accurate autofocus
Sealed and gasketed against dust and moisture with 1-year warranty

14 elements in 10 groups
F2.8-4.0 OIS lens (27-84mm equivalent)
7-blade rounded diaphragm opening
600mm to infinity focus range

1. Nikon AF-S DX 18-105mm f/3.5-5.6

The AF-S DX 18-105mm f/3.5-5.6 is a versatile zoom lens from Nikon. It has a wide focal length range. It has an optical stabilization system built in. And it’s compact and lightweight. That’s why it’s the best travel lens if you want a zoom lens.

The 18-105mm focal range gives you plenty of shot versatility. The minimum length of 18mm gives you beautiful wide-angle shots. It’s perfect for landscapes and cityscapes. And it lets you take pictures in tight interior spaces.

The 105mm end gives you excellent magnification. You can get closer to your subjects without moving. And it gives you a tighter framing. That’s good for intimate portraits and detailed close-ups.

The max aperture is limited to f/5.6 when using the 105mm range. That’s not ideal. But the lens compensates for the slow aperture with Nikon’s vibration reduction system. This optical stabilizer counteracts camera shake . And this lets you shoot with a slower shutter speed while avoiding motion blur .

The optical quality is great throughout the zoom range. Zoom lenses often suffer from distortion. But the glass’s Nikon Super Integrated Coating (SIC) reduces all types of distortion. That prevents lens flare, which is helpful if traveling in a sunny country.

If you’re traveling with a Nikon DSLR , the Nikon AF-S DX 18-105mm f/3.5-5.6 is the perfect travel lens. It’s lightweight and compact for a zoom lens. It’s versatile and delivers on image quality. And it has excellent low-light performance.

2. Canon RF 24-105mm f/4-7.1 STM

If you’re traveling with an R Series Canon camera , the RF 24-105mm f/4-7.1 is the zoom lens for you. The wide focal length range gives you lots of shot options. And the stabilization system gives you even more flexibility as a travel photographer.

The lens is compact for a zoom lens with such a large range. But despite being compact, there is no compromise on quality. The build quality is excellent. And the optical performance is outstanding from 24 to 105mm.

The max aperture of f/4 isn’t great. But the built-in optical image stabilization does give you more exposure freedom. It reduces camera shake. So you can shoot with slower shutter speeds. That means you get better low-light performance. And you get sharper images more consistently.

The wide zoom range allows for many types of photography. You can shoot everything from real-estate interiors to close-cut portraits. That’s why the Canon RF 24-105mm f/4-7.1 is the best travel lens for Canon mirrorless cameras .

3. Nikon NIKKOR Z 24-50mm f/4-6.3

The Z 24-50mm f/4-6.3 is the perfect lens for traveling with a Nikon mirrorless camera. Nikon’s range of Z-mount lenses is growing all the time. And we’ve selected this all-round option as the best Z lens for travel.

You get good versatility with a 24-50mm focal length range. The 24mm end gives you a lovely wide angle with a fast aperture. The 50mm end does lose a stop of aperture. But it still gives you a good focal length for street photography and environmental portraits.

Despite its compact size, the barrel is packed with top-quality glass. It holds three aspherical elements, which reduce chromatic aberration. And it has two Extra-low Dispersion elements for sharper, glare-free images.

It’s also a great option for travel vlogs and videography. The wide 24mm focal length is perfect for vlogs where you’re talking to the camera. And the lens suffers from very little focus breathing . That means you won’t have to recompose your shot every time you refocus.

The aperture is also near-silent. That means there’s no unwanted clicking sound that audio equipment can pick up.

The lens’s 13.7-inch (35 cm) minimum focus distance enhances its versatility. It allows for detailed close-ups, a bonus when shooting travel photography.

The Nikon NIKKOR Z 24-50mm f/4-6.3 is versatile and affordable. The optical quality is fantastic. And it barely takes up any space in your camera travel backpack.

4. Olympus ED 14-42mm f/3.5-5.6

The ED 14-42mm f/3.5-5.6 is the best zoom lens for Olympus camera users. Travel photographers will love the slim pancake lens design. And despite the small size, it still gives you a 3x zoom range. It’s an affordable lens Olympus shooters can take anywhere.

The 14-42mm range is equivalent to 28-84mm on a full-frame camera . This gives you excellent shooting angles for travel photography. It doesn’t give you the highest level of magnification. But you get a wide variety of shots. And the image quality is excellent throughout the zoom range.

The glass has the Zuiko Extra-low Reflective Optical coating. This eliminates lens flare when you have an in-frame light source. This is handy in direct sunlight and indoors with strong lights.

The Olympus ED 14-42mm f/3.5-5.6 is one of the most compact zoom lenses you can get for a Micro Four Thirds camera . It’s the perfect fit for your travel bag. And it delivers on quality and versatility.

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

The E 18-105mm f/4 G is the perfect travel buddy for your Sony camera. It’s compatible with all Sony APS-C mirrorless cameras . That includes the popular Sony a6600 . It’s a high-quality lens that’s ideal for travel photography.

The 18-105mm range lets you shoot different types of photography without changing lenses. The 18mm end gives you incredibly wide angles. You can shoot tight streets or architectural interiors. It’s also great for epic landscapes.

The other end gives you magnification for distant subjects. And it gives you a tighter composition for intimate portraits. It also lets you capture detailed close-ups. It’s also great if you’re a travel food photographer or blogger.

This Sony lens has the Optical Steady Shot system. It’s an optical image stabilizer that gives you sharper images. It also allows for better low-light photography by reducing camera shake. But you also get a constant f/4 aperture throughout the zoom range. That makes it one of the best low-light lenses on the list.

The lens also has internal focusing elements. This means the lens doesn’t change size as you zoom in and out. The dimensions remain the same.

The Sony E 18-105mm f/4 G is one of the most expensive lenses on our list. But it’s a beautiful piece of equipment. You won’t need any other lenses when traveling with this one. And it gives you unrivaled performance in low light.

6. Canon EF 24-70mm f/2.8L USM

The Canon EF 24-70mm f/2.8L is a professional quality lens. It has a professional price tag. But it’s a high-quality lens with outstanding features. You can shoot many types of photos with this lens. And it’s perfect for a photographer traveling with a Canon camera .

The 24-70mm focal length isn’t the widest zoom range. But it still gives you plenty to play with. The 24mm end lets you shoot wide shots in tight spaces. And the 70mm end is good for close-ups and portraits.

The max aperture is one of the top selling points for this lens. It gives you a fast aperture of f/2.8 throughout the focal length range. That means you get complete control of your exposure settings. And you can work in low-light conditions. That helps you shoot concerts, night markets, and sunsets.

This Canon lens uses its superior USM autofocus motor. It’s smooth, fast, and barely makes any noise. You also have a focus ring. And the full-time focus system lets you override the AF at any time. Turn the ring, and you get manual focusing.

The glass quality is exceptional. Canon uses a combination of fluorite elements and ultra-low dispersion glass. And the results are crystal-clear, distortion-free images. The Canon EF 24-70mm f/2.8L will deliver outstanding travel photography results.

7. Fujifilm XF 18-55mm f/2.8-4R

The XF 18-55mm f/2.8-4R is the best travel zoom lens from Fujifilm . It has a decent zoom range for different types of shots. It has excellent glass quality. And it is compatible with all Fujifilm X Series cameras.

The 18-55mm range lets you shoot wide-angle and standard-angle shots. You can take pictures of the glorious architecture you find in exotic locations. You can capture fantastic interior shots. And you can snap close-ups, portraits, and environmental portraits.

The f/2.8 max aperture gives you good exposure control. But this is limited to f/4 when you’re at the max zoom length. Also, the rounded aperture diaphragm helps you achieve a lovely background bokeh .

The optical quality is excellent. You get corner-to-corner sharpness throughout the zoom range. And the lens has excellent build quality. If you have a Fujifilm camera , the Fujifilm XF 18-55mm f/2.8-4R belongs in your travel bag.

This section looks at the best prime lenses for travel photography. Prime lenses give sharp images without distortion. And they are usually smaller and lighter than zoom lenses. That’s why many travel photographers use prime lenses.

The table below shows a quick rundown of the best prime lenses for travel photographers . Then, we look at each travel lens in more detail afterward.

Ultra-compact pancake lens design
38mm-equivalent focal length for a wide shot variety
Compatible with Canon APS-C DSLR cameras
7-blade circular aperture diaphragm for soft backgrounds

Compact and lightweight design
Fast f/1.8 aperture for low light and bokeh photography
The SWM gives you quiet AF operation
Approximates the human eye view

Compact, lightweight design for easy portability
Fixed 50mm focal length for creative composition
F/1.8 aperture for low-light photography and bokeh
STM motor for smooth, quiet AF and direct setting changes

High-speed normal lens with great performance in any light
Autofocus system compatible with select Nikon DSLRs
Lightweight and compact design ideal for travel photography
Maximum angle of view (FX-format) is 46° and stops down to f/22

Bright f/1.8 maximum aperture for stunning bokeh effects
Compact and lightweight design for ease of travel
Aspherical element for improved image quality
Double-gauss configuration suppresses distortion and curvature

Glass-Molded Aspheric Lens minimizes spherical aberration
Creates beautiful bokeh and excellent in-focus reproduction
Standard focal length with angle of view similar to the human eye
Bright maximum aperture is perfect for snapshots

Ultra-wide-angle, fast f/2.0 aperture
Great for low-light shooting, street shots, and landscapes
Premium metallic construction and snap focus ring
1024mm equivalent field of view and 200mm min focusing distance

1. Canon EF-S 24mm f/2.8 STM

The Canon EF-S 24mm f/2.8 is the best travel lens for Canon users. Its pancake design makes it ultra-compact and lightweight. You won’t have a problem finding space in your camera backpack. It can even fit in your pocket. But we don’t recommend carrying it like that.

The lens is compatible with Canon APS-C DSLR cameras. And the 24mm focal length is equivalent to 38mm on a full-frame camera. That gives you a nice shooting angle for travel photography.

The viewing angle is similar to that of a human eye. That lets you compose shots before you’ve even got the camera to your face. It gives you a wider angle than a 50mm lens . And that helps when shooting down narrow streets in Europe or Asia. That also makes it a great lens for landscape photography .

The f/2.8 max aperture is fast enough for most situations. It lets in plenty of light. So you can get lovely travel shots during the day. It also allows for a shallow depth of field when shooting close-ups. The circular seven-blade aperture also increases the bokeh effect.

The Canon EF-S 24mm f/2.8 is the perfect lens for travel photographers. You can use it for a wide range of travel shots. It couldn’t be much more compact. And any travel photographer can afford it.

2. Nikon AF-S DX 35mm f/1.8

The AF-S DX 35mm f/1.8 is the best travel lens for Nikon users. It’s a small and lightweight Nikon prime lens . It has precision optics for sharp and clear image quality. And it’s one of the most affordable Nikon lenses right now.

It’s compatible with Nikon APS-C DSLR cameras. And the 35mm focal length is perfect for travel photography. You can take street shots in the world’s most beautiful cities. You can capture stunning landscapes. And it’s great for environmental portraits.

This travel lens uses Nikon’s Silent Wave Motor (SWM) to power the autofocus. It’s fast and responsive. And it gives you near-silent focusing. That means you won’t disturb the world around you as you travel with your camera.

The f/1.8 max aperture is excellent for travel photography. It gives you excellent flexibility with your exposure controls. It helps you shoot in low-light situations. And you can achieve a lovely bokeh background. The circular aperture diaphragm also helps this.

Whether you have a Nikon D3500 or D500 , the Nikon AF-S DX 35mm f/1.8 is the perfect travel companion. It’s lightweight, compact, and affordable. It also produces excellent images time after time.

3. Canon RF 50mm f/1.8 STM

The Canon RF 50mm f/1.8 is a superb lens for travel photographers. It has a sleek design with a sharp 50mm focal length. And it’s compatible with Canon mirrorless cameras. It’s the perfect nifty-fifty for anyone traveling with a Canon mirrorless camera.

The 50mm focal length is a popular choice to pair with a street photography camera . It lets you snap candid shots as you roam new and exciting locations.

You can also shoot stunning landscapes when exploring the country. And it’s a good option for portraits and environmental portraits. The versatility means you can travel with fewer lenses in your travel bag.

The f/1.8 max aperture increases the versatility even more. It lets you shoot in low-light situations. And it gives you excellent depth-of-field options. You can achieve a soft bokeh effect in portraits and close-ups.

The optical quality of the Canon RF 50mm f/1.8 is fantastic. It gives you edge-to-edge sharpness. And the glass has a special coating that reduces flare and ghosting. It’s lightweight and compact. And it’s an absolute bargain for a mirrorless camera lens.

4. Nikon AF FX 50mm f/1.8

The Nikon AF FX 50mm f/1.8 is the best travel lens if you have a Nikon full-frame camera. It’s ideal if you’re traveling light. It’s a compact and lightweight nifty-fifty lens. And it gives you plenty of shot variety for exciting travel photography.

It’s compatible with Nikon full-frame DSLRs. But you can also use it with APS-C DSLRs. But the crop factor does give you an effective focal length of 75mm. That gives you more magnification and a tighter field of view. That’s good for tighter portraits and close-ups.

With an f/1.8 aperture, you can shoot in low-light situations. You can capture images at dawn and dusk. And you can shoot the interiors of famous buildings. The lens also has a manual aperture ring that you can use when shooting in Live View. That’s like shooting with classic 35mm film cameras .

Nikon lens quality is well-trusted in the photography community. And the Nikon AF FX 50mm f/1.8 is the perfect example of why. The glass elements give you pristine image quality. And you will experience very little distortion. It’s also an absolute bargain. Nikon users need this lens before their next voyage.

5. Sony FE 50mm f/1.8

The Sony FE 50mm f/1.8 is ideal for traveling with a Sony camera . It’s lightweight and compact. The 50mm focal length gives you plenty of shot options for your travel photography. And it’s an affordable Sony lens with fantastic optical quality.

This lens is compatible with all Sony mirrorless cameras. The FE mount means it fits naturally with Sony full-frame cameras. But it’s also compatible with Sony crop sensor cameras. The crop factor transforms it into a 75mm lens. While that isn’t ideal for street photography, it is a good product, food, and portrait lens .

The f/1.8 aperture gives you excellent exposure control. You can shoot outdoors and indoors. And you have complete control over depth of field. The seven-blade circular aperture diaphragm also helps achieve a smooth background bokeh effect.

The lens has a double-gauss configuration. This suppresses field curvature and distortion . That means you can expect clear and sharp images in all conditions. The autofocus is driven by Sony’s DC motor. It’s responsive and quiet in operation.

The FE 50mm f/1.8 is a must-have for Sony users. And that’s especially true if you suffer from wanderlust. You’ll have no trouble fitting it in your travel bag. And it won’t add much to your travel costs, leaving you more money to indulge in the local culture.

6. Fujifilm XF 35mm f/1.4

The Fujifilm XF 35mm f/1.4 is the best travel lens for Fujifilm users. It’s a compact and lightweight prime lens for Fujifilm mirrorless cameras. Precision glass engineering results in sharp and clear image quality. And it’s a versatile lens that gives you plenty of travel photography options.

The 35mm focal length gives you a nice wide angle. It helps you get wider shots, ideal for capturing natural and urban landscapes. It’s perfect for street travel photography. And it can capture more detailed shots like environmental portraits.

The fast f/1.4 max aperture is a big bonus for travel photographers. It gives you more shooting options in low-light conditions. And you can achieve a smooth and rich background bokeh. The seven-blade rounded aperture also helps this. You can bring a new level of artistry to your travel photography.

This Fujifilm XF lens is one of the pricier options on the list. But the eight-element construction is superb. And the fast max aperture gives you unrivaled exposure control. Undoubtedly, the XF 35mm f/1.4 is the best Fujifilm lens for travel photographers.

7. Olympus ED 12mm f/2.0

The Olympus ED 12mm f/2.0 is the perfect travel lens for Olympus photographers. It’s compatible with all the best Olympus cameras. It has incredible optical quality. And it’s ultra-compact and lightweight.

At first glance, the 12mm focal length might seem too wide for travel photography. But there is a considerable crop factor when you use a Micro Four Thirds camera. That means the 12mm focal length is equivalent to 25mm on a full-frame camera .

The 25mm-equivalent focal length gives you a lovely viewing angle for stunning landscapes, colorful cityscapes, and street shots. It’s also ideal for architecture and interior photography.

The f/2 max aperture isn’t as fast as other lenses on our list. But it still gives you good control over your exposure settings. The lens has a solid, all-metal construction. And it has a snap-focus ring. This lets you override the AF for manual focusing.

The Olympus ED 12mm f/2.0 is so small it fits in your pocket. We don’t recommend traveling with lenses in your pocket. But this lens won’t be inconvenient when packing your bag. It’s the best travel lens for Olympus cameras. See our full list of the best Olympus lenses for Olympus photographers.

We’ve answered some of the most frequently asked questions about travel lenses. This section gives you more information. You can make a confident purchase when you find the best travel lens for your photography.

Prime vs Zoom: Which Is the Best Travel Lens?

Prime and zoom lenses can be used for travel photography . They both have pros and cons, so it’s about deciding which is Best for you.

Prime Lenses

The benefits are their compact size, light weight, and superior image quality. Prime lenses have fewer glass elements than zooms. That means they tend to be smaller and weigh less. That makes them easy to carry in your bag.

Prime lenses also have better image quality. You experience less distortion and chromatic aberration . And they suffer less from lens flare when shooting in direct light.

Zoom Lenses

The main positive is the extra versatility. They have a changeable focal length. This lets you zoom in and out. You can shoot distant subjects. And you can get a tighter composition without having to move.

The main problem is the extra weight and size. They use more glass elements, making them bigger and heavier than primes. But the added versatility means one zoom can do the job of several prime lenses. That means your camera backpack might weigh less overall.

What Is the Best Focal Length for a Travel Lens?

For a prime lens, 35mm or 50mm are both excellent choices for travel. These are popular focal lengths for street photographers. And travel photography is similar to street shooting in many ways.

A 50mm lens gives you a tighter viewing angle. That makes it a better option for close-ups and portraits. The 35mm focal length gives you a wider angle. It is great for narrow streets and restricted interiors. It’s also great for landscapes, cityscapes, and environmental portraits.

When it comes to zoom lenses , you want a zoom range from wide to standard. Or you might prefer a standard-to-telephoto range. Something like 18-105mm is perfect. This gives you a wide shot selection. You can shoot anything from architecture to portraits with the same lens.

You don’t need a super-telephoto zoom lens. These are big and heavy, which makes traveling difficult. And you don’t need the super-telephoto reach. You’ll have incredible magnification. But you won’t be able to capture nearby subjects.

How Much Should I Spend on a Travel Lens?

Traveling with photography equipment can be nerve-wracking. Camera gear is fragile. And there’s always a chance things could get lost or stolen. That means travelers don’t always want to take their most expensive equipment. Many photographers like to travel with more budget-friendly lenses.

Professional travel photographers use expensive gear. But they make sure everything is insured. They also have more expensive traveling equipment, like camera hard cases .

We’ve taken this into account when compiling our list. Many of the travel lenses we’ve included are affordable for all photographers. Of course, you still don’t want to get robbed. But you’ll be able to sleep easier if it’s a low-cost option.

But don’t worry—there are no duds on this list. Every travel lens on our list is a fantastic option for adventurous photographers.

Conclusion: The Best Travel Lens

The best travel lens should fit your bag, give you a variety of shots, and deliver outstanding images. We believe all the lenses on this list deliver on those promises. And most of them have affordable price tags. We’ve also included a wide range of camera brands to choose from.

The Nikon AF-S DX 18-105mm f/3.5-5.6 tops our list as the best travel lens. It’s a compact zoom lens with a wide zoom range. The optical quality is excellent throughout. And it has built-in vibration reduction that gives you more exposure control. It’s the perfect lens for traveling with a Nikon APS-C DSLR camera.

The Best Fujifilm X-Series Kits for Travel Photography

A Post By: Matt Murray

Travel has always been my first love. In 1994 I bought my first camera – a Pentax Zoom 90 WR point and shoot – because I was going to Europe for a two-year working holiday. The only way to share photos with family back then was to have the film developed and post the prints home!

While photography (and technology) has changed remarkably in the last 25 years, what you should look for in a camera for travel photography is much the same: small, light, capable of great results and preferably weather resistant.

I’ve used all sorts of camera brands over the years. However, for me, Fujifilm X-Series cameras and lenses are the perfect travel companions. Whether it’s a trip to the Australian outback, visiting remote Buddhist temples in the Javanese jungle, photographing puffins in the Faroe Islands or capturing traffic trails in Taiwan, my X-Series cameras have always produced stunning results. Here are my recommended Fujifilm X-Series kits for your next big adventure.

Best minimalist kit

Camera: Fujifilm X100F Lens: Fixed F2 Fujinon lens Weight: 469 grams

The best minimalist kit choice was easily the stunning Fujifilm X100F . This is the best compact digital camera ever made. Yes, it really is that good!

Many photographers – including diehard users of other brands – use this as their “take everywhere” shooter. The X100F is small and quiet, and the fast f/2 Fujinon lens creates beautiful images. It may be small, but it boasts an impressive array of features including a leaf shutter and built-in neutral density filter.

Like all the cameras I feature in this article, the X100F can shoot RAW alongside Fujifilm’s array of stunning JPG film simulations, that replicate the look of classic films such as Provia and Velvia. Fujifilm cameras produce the best JPGs I’ve seen straight out of the camera.

This choice is a little unusual as it has a fixed lens. That’s right. You can’t take it off and swap it for another lens. If the 23mm focal length (35mm in full-frame terms) isn’t your preferred choice, the system also has wide-angle conversion and telephoto converter lenses. However, these do add extra weight to your kit. One of the few downsides to the X100F is that it’s not weather resistant. But, at least it’s small enough to fit in your pocket during a downpour.

One body plus one lens kit

Camera body: X-T30 Lens: XF 18-55mm F2.8-4 R LM OIS lens Approximate weight: 693 grams

If you only have space to take one body and one lens on a trip, I would recommend the brand new Fujifilm X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens . I’ve been using this line of cameras since buying the X-T10 as a second body back up to my X-T1, and I’ve also used the X-T20. The X-T cameras with a “0” after them are lighter, cheaper, non-weather resistant versions of the flagship models, but usually feature much of the same technology. For example, the X-T30 has the same 26.1MP X-Trans 4 CMOS sensor as the X-T3.

Alternatives for the camera body would be the X-T20 and the X-E3 . The X-T20 gives you a screen that tilts up and down for overhead and low to the ground shots. Whereas, the X-E3 is the more minimalist choice, and features a joystick that controls where the focus point is in the frame. The X-T30 and the X-T3 have both of these features.

My choice of lens for this kit is the XF 18-55mm F/2.8-4 R LM OIS. Not only is it one of my favorite Fujifilm lenses, but it’s also the lens that I’ve used the most over the last three years.

Often sold with camera bodies, many newcomers to the X-Series remark that the XF 18-55mm F2.8-4 R LM OIS lens is “surprisingly good for a kit lens.” In no way is this lens like the subpar beginner kit lenses produced by other manufacturers. The XF 18-55mm F/2.8-4 R LM OIS is a stunningly sharp lens in its own right and has produced some of my favorite images ever.

It may not be weather resistant, but it does feature OIS (optical image stabilization) to ensure your shots are as sharp as possible at lower shutter speeds. It’s a variable aperture zoom lens, meaning that the maximum aperture changes as you zoom through the range. However, you can still shoot at f/2.8 at the 18mm focal length, and f/4 at the 55mm end. It’s a top lens for landscape, cityscape, and portraits.

Best kit under 1kg

Camera body: X-T30 Lenses: XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R Approximate weight: 880 grams

My picks for the best kit weighing under 1kg include the same choices as the ‘One body plus one lens’ kit above, with the addition of the XF 35mm f/1.4 R . The first time I used this lens, I was blown away by its sharpness and stunning bokeh. It’s a top lens for portraits, still life subjects and even street shooting.

It did have a reputation of being slow to focus, but with Fujifilm’s ongoing firmware updates to both lenses and camera bodies, this has greatly improved. I wouldn’t hesitate to use it in any situation. This lens has a fast maximum aperture of f/1.4 that enables you to shoot images handheld at night without raising the ISO too high or lowering the shutter speed too low.

One zoom, two fast primes kit

Camera bodies: X-T30 Lenses: XF 18-55mm F2.8-4 R LM OIS + XF 35 1.4 R + XF 60mm f2.4 R Macro Approximate weight: 1.095kg

For a lightweight travel kit weighing just over 1kg and featuring two fast prime lenses, add the XF 60mm f/2.4 R Macro to the kit above. This is another option often overlooked by newer lenses on the block, but it offers superb image quality for portraits and macro shots.

Although it’s not a true macro lens (it offers 1:2 magnification rather than the standard 1:1 magnification for a true macro lens), it is an incredibly light option for close up shots. It weighs less than a third of the weight of Fujifilm’s XF 80mm F/2.8 R LM OIS WR Macro lens.

Best weather resistant kit

Camera bodies: X-T3 Lenses: XF 16mm F1.4 R WR, 23f2, XF 50-140mmF2.8 R LM OIS WR. Approximate weight: 2.6 kg check

The best weather resistant kit features Fujifilm’s newest X-Series flagship camera. The X-T3 has won high praise from users and critics alike since its release in mid-2018. It is an impressive performer, having the fastest autofocus in the X-Series lineup and a continuous shooting rate of up to 20 frames per second. I’ve really enjoyed using this camera alongside my X-T2, which is still an excellent camera.

The newcomer to this kit is the XF 16 f/1.4 WR lens – often praised as the best lens in the X-Series lineup. Weather resistant, the lens is optically stunning, and a solid performer for landscape, cityscape, and low light shots. With a close focusing distance of 15cm, the XF 16 f1.4 WR lens is highly versatile. I’ve loved using it for food photography.

Best travel kit with zoom lenses

Camera bodies: X-T3 and X-T30 Lenses: XF 18-55mm F/2.8-4 R LM OIS and XF 50-140mm F/2.8 R LM OIS WR. Weight: 1.8kg

This kit gives you the best of both worlds: the light X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens, and a weather resistant combo of the X-T3 with the stunning XF 50-140mm F/2.8 R LM OIS WR lens.

Weighing in at 995 grams, you might actually question why I would choose this lens as part of a travel kit? I’ve even been laughed at when I’ve suggested this lens for travel. Although it’s heavy, this lens is a must-have in my travel photography kit.

Like an equivalent focal range 70-200mm, the lens has a constant maximum aperture of f/2.8, meaning that you can shoot with a shallow depth of field throughout the zoom range. This is particularly helpful during low light situations, or to achieve shallow depth of field at any time.

This XF 50-140mm F/2.8 R LM OIS WR lens also features OIS (optical image stabilization) and has a pleasing bokeh. I’ve used this lens for landscape, cityscape, and portraits. If I could only pick one lens for travel, I’d have to flip a coin to choose between the two amazing zooms in this kit.

If you have different weight or budget considerations, you could substitute the excellent XF 55-200mm F/3.5-4.8 R LM OIS lens in this kit. I’ve never regretted taking this lens along with me on trips, but if you plan on shooting in low light at the far range of the zoom, you will be shooting at a maximum aperture of f/4.8, which may slow down shutter speeds. Thankfully, this is another lens with OIS (optical image stabilization).

My favorite kit

Camera bodies: X-T3 and X-T2 Lenses: XF 16mm F/1.4 R WR + XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R + XF 50-140mm F/2.8 R LM OIS WR Approximate weight: 2.9 kg

This is my favorite kit. It may be the heaviest listed in this list, but this is what I would typically take on my travel adventures. It pairs two weather resistant camera bodies with my two favorite zooms and two favorite primes. This kit has a reach from 16-140mm (24-210 in full-frame terms) and covers many shooting situations. The XF 50-140mm F/2.8 R LM OIS WR lens may not be the longest in the X-Series lineup, but it’s still capable of capturing stunning wildlife images.

X-Series options I don’t recommend for travel kits

In 2018, Fujifilm released the entry-level X-T100 . Although this attractive looking camera looks very much like the rest of the X-Series line-up, its autofocus can’t match the cameras I’ve featured above.

18-135mm lens

The XF18-135mm lens is often on the list of recommended lenses for Fujifilm travel photography. Having owned and used one, it doesn’t make my list. For a slower, all-in-one travel zoom, I don’t think it has enough reach.

The 27mm F/2.8 pancake lens is sharp, and you can often buy them at a bargain price. It’s a firm favorite amongst many Fujifilm photographers, but it doesn’t make my list as it’s the only lens in the lineup not to have a ring on the lens to change aperture.

The Fujifilm X-Series range is perfect for travel photographers for so many reasons.

With an impressive lineup of prime and zoom lenses for all budgets, the X-Series has you covered for a wide range of situations including low light photography and adverse weather conditions. The camera bodies feature retro charm and excellent ergonomics, and no other system can match the beauty of Fujifilm’s straight out of camera JPGs.

Whether it’s a day trip near home or the trip of a lifetime, Fujifilm X-Series is my number one recommendation for travel photography.

Do you use Fujifilm Cameras for your travel photography? Let us know what you use in the comments below.

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8 Compact Weather Sealed Prime Lenses For The Travel Photographer

Chris Gampat The Phoblographer Lomography Color Negative 100 review sample images 7

Last Updated on 07/22/2018 by Chris Gampat

These weather sealed prime lenses will help you to keep shooting when it starts pouring.

Travel photography is an interesting segment of the photography world, it is a project that requires versatility from a photographer’s kit while at the same time requiring the footprint of that kit to remain as minimal as possible to reduce added fees and weight. As such, many travel photographers, or photographers who will be traveling often reexamine their kits looking for any way to add versatility while reducing their footprint and weight.

Today we are going to be helping those of you in this situation out by providing an excellent listing of compact, weather sealed lenses that would make great additions or replacements for any travel photographers kit. DSLR? Mirrorless? It matters not: we have some recommendations for both sides of the spectrum.

Sony 35mm f2.8

If you are planing to build your travel photography kit around the Sony full frame mirrorless system than one lens you will no doubt want to consider heavily is the FE 35mm F2.8. This lens is small, compact, weather resistant, and has excellent image quality. In our full review of this lens we had the following to say about it…

“ It’s an incredible lens. On the A7 it will focus like a speed demon. On the A7r it will resolve more detail than your mom will want to see in her face. Then when you’re all done with that, you can take it out into inclement weather with no problems. Then there is your excellent color rendition and class leading sharpness. ” – Read our full FE 35mm F2.8 review

You can find the [amazon_textlink asin=’B00FSB79KU’ text=’Sony FE 35mm F2.8′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’cc67295e-4ba1-11e7-8bdc-4bb8ec5cdf02′] over on Amazon for [amazon_textlink asin=’B00FSB79KU’ text=’Sony FE 35mm F2.8′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’bf926641-4ba1-11e7-a66f-e357a9195c85′] currently. (Price updated automatically to be accurate)

Sony 55mm f1.8

Another great addition for a Sony travel photographer’s kit would be the Sony/Zeiss FE 55mm F1.8. This is one of the sharpest lenses available for the Sony FE system and thanks to its weather resistant design it is also one that you should feel pretty comfortable with out in the elements. In our full FE 55mm F1.8 review we had the following to say about the lens…

“ The Sony 55mm f1.8, like its shorter brother, has earned our Editor’s Choice Award for sheer performance. If this lens is any indication, the future is bright and creamy for the A7, A7R and whatever will come next. When paired with the A7, you’ll enjoy smooth focusing both manually and automatically. ” – Read our full FE 55mm F1.8 review

You can find the [amazon_textlink asin=’B00FSB799Q’ text=’Sony/Zeiss FE 55mm F1.8′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’64c1bc6f-4ba3-11e7-9246-dfd5b55b8c76′] over on Amazon for [amazon_textlink asin=’B00FSB799Q’ text=’Sony FE 55mm F1.8′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’6d8d04ab-4ba3-11e7-99dd-c79ecf95f6c5′] currently.

Sony 85mm f1.8

If you’re looking for something with a tad more reach for street photography or even portraits while you’re traveling, then the Sony 85mm f1.8 is a really solid option. It’s very sharp, lightweight, has dust/splash protection, and will really round out the trio that you’ve got in your bag. In our review, we say:

“Images from the Sony 85mm f1.8 FE are beautiful in many ways. This lens offers very sharp image quality though arguably as more muted than what Sony users are used to. Sony’s 85mm f1.4 G Master is the most saturated, while the Batis follows after that, then the Loxia and then the standard Sony FE.” – Read our full Sony 85mm f1.8 review

Be sure to check out the Sony 85mm f1.8 on Amazon. At $598, it’s a steal .

Zeiss Loxia 21mm f2.8

Another third-party option for those who aren’t afraid of the manual focus lifestyle, the Zeiss Loxia 21mm F2.8 offers travel photographers a high quality, compact, wide angle lens on the Sony platform. It has all the build and image quality points that one would expect from a Zeiss lens (including, unfortunately, the price tag) and in our Loxia 21mm F2.8 review we had the following to say…

“ If you were to go for any wide angle prime that is weather sealed and available for the Sony a7 series of cameras, I would without a double recommend the Zeiss 21mm f2.8 Loxia lens. It’s small, weather sealed, sharp, and has great image quality. Seriously, there simply isn’t a single bad thing I can say about this lens. Landscape and most photographers shooting this wide don’t truly NEED autofocus all the time. So it works perfectly. ” – Read our full Zeiss Loxia 21mm F2.8 review

You can find the [amazon_textlink asin=’B019OUCQ9Y’ text=’Zeiss Loxia 21mm F2.8′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’15862807-4ba5-11e7-8292-61dcdc4eb363′] over on Amazon for [amazon_textlink asin=’B019OUCQ9Y’ text=’Zeiss Loxia 21mm F2.8′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’0d7f19e9-4ba5-11e7-aea0-210f7730b8ac’] currently.

Fujifilm 16mm f1.4

In the Fujifilm x-series there is no shortage of compact weather sealed lenses, this lens one of the larger options. But with its 24mm full frame equivalent field of view, the XF 16mm f1.4 is a great option for Fuji shooters wanting a wider view of their travels. It also happens to be the second fastest lens on this list with its F1.4 aperture. In our XF 16mm F1.4 review we had the following to say about the lens…

“ This lens has weather sealing, sharp image quality, the best bokeh they could possibly give it, and a metal exterior that makes it tough. But it also will give users more fringing issues than we’d like, fairly slow focusing performance, and will most of all set you back $1,000. There is very little around that can even come close to what it offers, so in many ways that can help you justify the price. ” – Read our full XF 16mm F1.4 review

You can find the [amazon_textlink asin=’B00W6VZLFA’ text=’Fujifilm 16mm F1.4′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’f90f677c-4ba6-11e7-a2b3-63c2619a4544′] over on Amazon for [amazon_textlink asin=’B00W6VZLFA’ text=’Fujifilm 16mm F1.4′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’efcdb6b9-4ba6-11e7-a88f-8d03c148d6b4′] currently.

Fujifilm 23mm f2

A much more compact option over the 16mm we just mentioned, Fujifilm’s XF 23mm F2 is part of Fujifilm’s compact weather sealed F2 prime series. The lens is sharp, fast to focus, lets in plenty of light, and won’t take up hardly any room in your bag. It’s hard to not recommend this lens to Fujifilm shooters who require a kit that takes up as little size/weight as possible. In our Fujifilm 23mm F2 review we had the following to say about it…

“ The speed when focusing with this lens on the X Pro 2 is very impressive. It’s by far the absolute best lens in Fujifilm’s lineup for street photography and candid shooting due to its autofocus speed. When the focusing point is at its smallest, it will be a bit slower. But increase it and what it become a complete speed demon. With that said, let the camera choose its own focusing point and it will seriously surprise you with how fast it focuses. ” – Read our full Fujifilm 23mm F2 review

You can find the [amazon_textlink asin=’B01KNXOCO8′ text=’Fujifilm XF 23mm F2′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’fe859b76-4ba7-11e7-ac9a-4bba824f8809′] over on Amazon for [amazon_textlink asin=’B01KNXOCO8′ text=’Fujifilm XF 23mm F2′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’f71b6a5b-4ba7-11e7-a385-571e29edac54′] currently.

Tamron 45mm f1.8

Admittedly a somewhat odd focal length in today’s lens industry, the Tamron 45mm F1.8 offers Canon and Nikon shooters a fast, image stabilized and weather sealed prime lens that is incredibly versatile. It is not the most compact weather sealed prime lens available for the DSLR systems, but it is one we hold in high regard, and we had the following to say about it in our full review…

“ With nine aperture blades, a metal build, a nice feel in the hands and weather sealing, this lens has a lot going for it–especially for only $599. That’s an affordable price point for sure, but it’s also a lens for those of us not reaching for higher fruit. ” – Read our full Tamron 45mm F1.8 review

Get a [amazon_textlink asin=’B014ULAFJA’ text=’Tamron 45mm F1.8′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’096a0a8b-4ba9-11e7-9357-c9aee86918db’] over on Amazon for [amazon_textlink asin=’B014ULAFJA’ text=’Tamron 45mm F1.8′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’03a3c535-4ba9-11e7-a4bf-012190639394′] currently.

Side Note: For what it’s worth, the [amazon_textlink asin=’B014ULAF0O’ text=’Tamron 35mm F1.8′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’0e023a91-4baa-11e7-9520-5d002861017a’] is also an excellent option in this regard, featuring many of the same things that we love about the 45mm. So if you prefer a wider view, go with the 35.

Olympus 25mm f1.2

Olympus, and other Micro Four Thirds cameras for that matter, make a lot of sense as travel cameras thanks to their small size and weight. Their 25mm F1.2 is a compact weather resistant lens that gathers an insane amount of light for a lens its size, and when combined with one of Olympus’s latest cameras offers a stellar travel photography experience. In our full review of the Olympus 25mm F1.2 we had the following to say…

“ People need to realize that it isn’t the size that matters but instead how you use it. The 25mm f1.2 is more than capable of doing everything that most photographers will demand. In fact, it could be the one lens that stays mated to your camera. ” – Read our full Olympus 25mm F1.2 review

Grab the [amazon_textlink asin=’B01LW4IFUI’ text=’Olympus 25mm F1.2′ template=’ProductLink’ store=’thephobl-20′ marketplace=’US’ link_id=’b415a439-4baa-11e7-960c-0b65baa663b8′] over on Amazon for [amazon_textlink asin=’B01LW4IFUI’ text=’Olympus 25mm F1.2′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’a9e5c2b9-4baa-11e7-bbb2-3309ff6cce8d’] currently.

So there you have it, a collection of compact (relatively at least) weather sealed prime lenses that make a lot of sense for travel photographers. That said, specifically on the DSLR side of the spectrum, there are more compact lenses that didn’t make this list due to the lack of weather sealing, as well as some options that do feature weather sealing but are not really compact at all.

So just know there are good options out there for those systems if you can live without weather sealing or if size/weight are not things you are concerned about.

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Best kit for travel photography

Travel photography is one of the most popular genres – it’s got all the fun of travel combined with the passion of taking photos. When you’re travelling, you’ll want to travel as light as possible, so it’s important to only carry the essentials. In our travel photography kit list, we’ll have a look at some of the things you might want to consider packing for your next trip.

Travel photography kit list: Camera

Many photographers use a different camera when they’re travelling than they have for every other shooting scenario. The very nature of travel photography means you’re likely to want to be as light as possible, and there are several options available to the travelling photographer.

If you want the ultimate in portability, you could go for one of the many excellent premium compact cameras currently on the market, for instance the Sony RX100 V , the Fuji X100F or the Panasonic TZ100 .

Alternatively, you could choose a bridge camera. These give you the form and functionality of a DSLR but allow you to travel light as the zoom range encompasses a range you’d need several heavy DSLR lenses for. You can get bridge cameras with ridiculously huge zoom ranges, or you can go for the premium end of the bridge camera range if premium image quality is your main concern. The Sony RX10 III is a great example of a premium bridge camera, as is the Panasonic FZ2000 .

Finally, compact system cameras are a travel photographers dream. They allow you all the flexibility of an interchangeable system but with a much smaller, and crucially, lighter form factor. There are dozens of CSCs currently on the market, with different styles to suit different photographers. The Panasonic GX80 is a super example of a small-form CSC which is compatible with a huge range of Micro Four Thirds lenses. Alternatively, something like the Fuji X-T20 is ideal for those who like a retro-style camera, and want an APS-C sized sensor.

Travel photography kit list: Lenses

If you choose a bridge camera or compact camera, lens choice will be taken away from you. However if you go down the CSC route (or DSLR if you don’t mind the bulk) there are some lenses which are better for travel than others.

You probably don’t want to be weighed down with several lenses, so a zoom lens which offers a flexible zoom length and a wide maximum aperture makes perfect sense. For example, the Panasonic 12-60mm offers the equivalent focal range of 24-120mm and is ideal as a walk around lens.

Look for lenses which offer this kind of range and maximum aperture for something which should cover you in the majority of close to mid-range situations. If you think it’s likely you’ll be wanting to shoot faraway subjects, you could also carry a telephoto lens.

If you can find room in your bag, a second or third lens could be a very wide aperture prime lens, such as a 50mm f/1.4 or f/1.8 (the equivalent for Four Thirds would be 25mm).

Travel photography kit list: Bag

You’ll probably find that if you’re taking photos on your travels, you’ll want something which gives you quick access to your gear while you’re wandering about. For this reason, a messenger bag, like the Tenba DNA 10 Messenger Bag , is ideal. If you’re travelling pretty light, take a look at the Case Logic Reflexion small cross-body bag .

Look out for bags which offer increased security options if you plan to travel to new and unfamiliar territory. You want quick access, but you don’t to give it to thieves. Don’t leave a messenger bag open and behind your back.

Travel photography kit list: Memory cards

You don’t want to be worrying about running out of memory while on your travels, so make sure you invest in a few memory cards. Most CSCs, bridge cameras and compact cameras use SD cards. You could either invest in one or two very high capacity cards (such as 64GB or 128GB) or spend the same amount of cash on a few smaller capacity cards (18-32GB). The latter gives you more security if one of your cards gets corrupted or lost.

Travel photography kit list: Tripod

Whether you want a tripod as a travel photographer largely depends on the kind of photos you will be taking. If you like to take scenic landscapes, seascapes and perhaps even architecture shots on your travels, a small and light travel tripod could be worth carrying around. On the other hand if you prefer to grab street shots, and want to keep your bag as light as possible, you may not think it’s worth packing one.

If you don’t want to carry a full tripod around, you could always pack something very small and light which will give your camera a bit of stability but will barely take up any room in your bag, such as a GorillaPod or a table top tripod.

There are quite a few tripods which are specifically designed for travel photographers. A good example of this is the Kenro Karoo Ultimate Travel tripod kit , which is also excellent value for money.

Travel photography kit list: Batteries

Just as you don’t want to run out of memory, you also don’t want to run out of power. While travelling access to power sockets may be few and far between. Remember to buy and pack an extra battery or two so you don’t have to worry about conserving power.

Travel photography kit list: ND Filter

An ND filter is worth investing in if your travel photography is mainly concerned with landscapes. If, again, you want to grab street scenes and portraits, you won’t need one.

Do you have any other travel essentials that you would recommend? Please tell us and put them in the comments section below.

The AP Staff team are made up of a number of experts, photographers and professionally trained journalists and writers, with decades of experience in the photography industry, including expert reviewers with many years of knowledge. Find out more about the team that make up the AP Staff on the about us page.

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My “ultimate” fujifilm travel kit.

Posted on March 29, 2021 by Ritchie Roesch

I recently set out to create an “ultimate” Fujifilm travel kit.

Over the last couple of years, as I’ve collected more and more gear, traveling with my cameras and lenses has become cumbersome, which has lead to frustrations and reduced productivity. More isn’t always better; in fact, less is often more—this is especially true when traveling. I realized that my gear wasn’t nearly as ready for adventure as I was, and I needed to make some series changes to my kit before embarking on my next road trip.

What makes a travel kit bad ? If it’s big and heavy and gets in the way, it’s not good. My travel kit consisted of a backpack camera bag filled with multiple bodies and as many lenses as I could stuff inside. I went to Montana last fall, and in my bag there was an X-T1, X-T30, X100V, and X-M1, plus a handful of lenses, including the Fujinon 100-400mm and Fujinon 90mm, which aren’t small or lightweight. I hardly used any of them, except for the X100V, which I could easily carry with me, and so I did. Because I had it with me, I used it often. The rest of the gear just got in the way—literally, the backpack took up too much space in the car, and it become a point of frustration. I would have been better off just bringing one or two cameras and maybe a few small lenses—gear that might have actually been used.

I was afraid that if I didn’t have a certain camera or lens, I would regret not bringing it, if at some point I thought I might need it. You never know what you’ll need, so it’s better to be prepared, right? What I discovered over the last few trips is that the majority of what I was carrying with me I didn’t use. Or, for some of it, if I did use it, it’s only because I forced myself to use it when it wasn’t really necessary. Having too much gear actually made me want to photograph less, and made me less creative when I did. My best photography most often happened when I had limited gear—perhaps one camera and one lens—and left the rest behind.

What makes a travel kit good ? It should be compact and lightweight, yet versatile. One camera and one lens is often enough, but not always. The X100V is a great travel camera, but sometimes I need something more wide-angle or more telephoto—it’s not always versatile enough, even though it is often my camera of choice. I think two bodies and a limited assortment of lenses in a small bag is good. Small enough to not get in the way. Lightweight. Something that you don’t mind having with you, so you do. A good travel kit strikes a comfortable balance between practicality and petiteness.

I put together what I hoped would be a great kit for travel photography. I was able to put it to the test on a road trip to Arizona—was it actually going to work for me?—and I discovered many good points and a few things that still need to be worked out. Let’s take a close look at this “ultimate” Fujifilm travel kit that I assembled for myself, piece-by-piece.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

It might seem strange to begin with the bag, but in my mind it’s just that important. The camera bag needed to be very small, but it also had to be able to hold everything. Finding one that I felt was just the right size and design turned out to be a challenge, but after much research I stumbled across the National Geographic NG2344 Earth Explorer Shoulder Bag, and for only $40! The dimensions of this bag are roughly 8″ x 7″ x 6″, yet I can fit two cameras and six lenses inside. I was thrilled to learn that the bag fit into the middle storage console of my car, so it is completely out of the way on road trips, yet is easily and quickly accessible.

I subdivided the main compartment into four, using the soft dividers to create “hidden” storage under the cameras, which I use for lenses. The bottom-right holds two Fujinon lenses, and the bottom-left holds three third-party lenses. Two cameras fit on top, just as long as the interchangeable-lens camera has a pancake lens attached. The small front compartment holds charging cords, extra batteries, SD-cards, etc., while the two tiny top pockets (which are probably more for looks than anything) hold lens-wipes. While everything is packed in, I don’t feel like it’s overstuffed—there actually is a little room for more, should I need it.

One thing that I don’t like about this bag is that the shoulder strap is permanently attached. I might modify it at some point to make the strap removable, as I think that would improve it. Otherwise, the bag seems pretty darn good for the travel photographer.

National Geographic Earth Explorer Bag Amazon B&H

I already owned a Fujifilm X100V, and that camera was going to be in this kit, no doubt about it. The other camera was a question mark for me. It needed to be small yet an interchangeable-lens model. I thought that my X-T30 might be too big, so maybe the X-E3, but it has the older sensor. I really wasn’t sure which camera was going to be the right one. Then Fujifilm announced the X-E4, and I really hoped that it would be the correct camera for this kit, so I immediately preordered it. After several weeks of waiting, and just a couple of days before my Arizona trip, it arrived at my doorstep. And it fit perfectly into the camera bag.

Fujifilm X100V

The Fujifilm X100V , which I’ve had for about 10 months, was a birthday gift from my wife. It’s such a great camera and I absolutely love to shoot with it. The X100V has a permanently attached 23mm lens, which is 35mm full-frame equivalent—a very useful focal-length. The compactness of it makes it especially great for travel.

There are some X100V features that are unique in my bag. It’s weather-sealed, has a nearly silent mechanical leaf shutter, built-in high-speed-synch fill-flash, optical viewfinder, and built-in neutral-density filter. I could photograph with this camera 90% of the time and be very happy, but the X100V isn’t always the right choice. It has strengths, but it also has weaknesses that limit its versatility.

If I could only have one camera, it would be the X100V; however, I believe that this camera demands a partner. If you have this camera, you also need an interchangeable-lens option to accompany it. That’s why I have two cameras in my kit, even though the X100V is oftentimes all that I need.

Fujifilm X100V Black Amazon B&H Fujifilm X100V Silver Amazon B&H

Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.

Fujifilm X-E4

The Fujifilm X-E4 is the smallest interchangeable-lens camera with an electronic viewfinder offered by Fujifilm. The compact size of the X-E4 is an important aspect of this travel kit. I have an X-T30, which is a small camera that’s a little bigger than the X-E4, and it does fit into the camera bag, but barely—it’s much more snug than I want it to be. In a pinch it would work, but the X-E4 is a more comfortable fit, and a better choice because of that.

When the X100V isn’t the right tool, the X-E4 fills in nicely. It adds great versatility to the travel kit. I can go more wide-angle or telephoto by changing the lens. It can store one more film simulation recipe than the X100V. It has some new JPEG features that the X100V doesn’t. Even though 90% of the time the X100V is all that I need, I found myself using the X-E4 much more than I thought I would. It’s a fun camera that’s easy to have with you because of its compact size.

Fujifilm X-E4 Black Amazon B&H Fujifilm X-E4 Silver Amazon B&H

Below are a few pictures that I captured with my Fujifilm X-E4 on the Arizona trip.

In the camera bag I have six lenses—seven if you count the one permanently attached to the X100V. This provides versatility for whatever photographic situations present themselves. The lenses must be small, or else they won’t fit inside the bag.

Would a 100-400mm zoom be nice to have as an option? Yes, for sure! But it’s too big, and it would add a lot of weight—if it’s not going to be used much, it’s not worth bringing along. The Fujinon 90mm f/2 is one of my favorite lenses, but it’s also big and heavy, and not used often enough, so it’s not in this kit. A zoom lens would make a lot of sense, perhaps something like the 18-55mm f/2.8-4, but I prefer primes. My philosophy as I put this travel kit together was smaller is better . Zooms are often smaller than a few primes put together, but are rarely smaller than a singe prime. If a lens attached to the X-E4 made it possibly pocketable, that was a win. The more compact the camera and lens combo is, the more convenient it will be for travel. With those goals in mind, I chose six lenses to place inside my camera bag.

Fujinon XF 18mm f/2 R

The Fujinon XF 18mm f/2 R is Fujifilm’s second smallest lens, which makes it a great option for travel. The 18mm focal-length, which is 27mm full-frame equivalent, is very useful—great for walk-around photography and landscapes. This is my primary wide-angle lens in this kit. The 18mm f/2 is a little loud and a bit slow, but it captures beautiful pictures. The compact size and lovely image quality are what makes this lens great.

Most of the time when I want a wide-angle option, the 18mm focal-length works well; however, occasionally I would like something a little wider. I think a 14mm or 12mm lens would be preferable sometimes, but unfortunately there’s not an option that’s small enough for my camera bag—for example, my Rokinon 12mm f/2 is just a little too big. Thankfully, this lens is often a great choice when I want to shoot wide-angle, so it gets used a lot, and is an essential part of this travel kit.

Fujinon XF 18mm f/2 R Amazon B&H

Below are a few pictures that I captured with my Fujinon 18mm lens on the Arizona trip.

Fujinon XF 27mm f/2.8 R WR

The Fujinon XF 27mm f/2.8 R WR was my most used lens on the trip to Arizona. It’s Fujifilm’s smallest lens, so I knew that it would be an essential element of my travel kit, but I didn’t know just how much I’d love using it. The 27mm focal length, which is 40.5mm full-frame equivalent, is the closest to a “normal” lens on Fujifilm X, yet it is slightly wide-angle.

If I wanted to really simplify things, I could be happy just bringing this lens and the 18mm f/2 to pair with the X-E4 (plus the X100V). That would be a lightweight and uncomplicated kit. Expanding the focal-length options with a few other lenses is a nice bonus, but the heart and soul of the camera bag are the two camera bodies and the 27mm and 18mm pancake lenses.

Fujinon XF 27mm f/2.8 R WR Amazon B&H

Below are a few pictures that I captured with my Fujinon 27mm lens on the Arizona trip.

Fujinon XF 35mm f/2 R WR

The Fujinon XF 35mm f/2 R WR has been my most used lens over the last two years. The 52.5mm full-frame equivalent focal-length makes this a slightly telephoto “standard” prime lens, often referred to as a “nifty fifty”. There’s a little redundancy between this and the 27mm, as they’re both “standard” lenses, but the 35mm has some advantages: quieter autofocus, larger maximum aperture, slightly superior optics. Despite that, I found myself using the 35mm f/2 less often than I thought I would.

Because I have the 27mm lens, this lens isn’t an essential part of the travel kit. Since there’s room for it and it’s been a favorite lens of mine for a couple years, I decided to include it anyway. I did use it a little on my trip, but more because I forced myself to and not so much because I needed to. I might rethink its inclusion in the camera bag, but for now the 35mm f/2 lens stays.

Fujinon XF 35mm f/2 R WR Amazon B&H

Below are a few pictures that I captured with my Fujinon 35mm lens on the Arizona trip.

Pergear 10mm f/8 Fisheye

The Pergear 10mm f/8 Fisheye lens is quite limited in its usefulness, but occasionally it comes in handy, such as when I visited Horseshoe Bend , which demanded an ultra-wide-angle option for the dramatic landscape. The Fujinon 18mm lens wasn’t nearly wide-enough, so the Pergear 10mm came out and did the trick. The strong barrel distortion makes it tough to use, but it’s definitely useable in a pinch.

This compact pancake lens takes up almost no space in the camera bag, so its inclusion is a no-brainer. Even if it was only used a few times, and otherwise remained in the bag unused, it’s worth having around for those rare occasions when this lens comes in handy. It’s so small, lightweight and cheap, it just makes sense to have it in the camera bag, providing a more wide-angle option than 18mm.

Pergear 10mm f/8 Fisheye Amazon

Below are a few pictures that I captured with my Pergear 10mm lens on the Arizona trip.

Asahi Pentax-110 50mm f/2.8

The Asahi Pentax-110 50mm f/2.8 was the last lens that I added to the travel kit. Why did I include it? Because, since it’s a tiny lens, there was room for it, and I really like how it renders pictures. This lens has a fixed aperture, which makes its usefulness limited, but when I do use it I enjoy the pictures that I capture with it. This Asahi lens is the only vintage lens in this kit.

I wish that I had used this lens more, but it had competition, so I ended up using it less than I should have. Next time I will use it more. This little 75mm full-frame-equivalent lens has a special quality and takes up so little space, so its inclusion in the travel kit should have been obvious. The Asahi Pentax-110 50mm lens is going to stick around awhile.

Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.

7artisans 50mm f/1.8

The sixth lens in my travel kit is the 7artisans 50mm f/.8 . This fully manually lens is good and all, but there are two reasons why it will be replaced: I already have a 50mm lens that I like, and focusing on distant objects is more difficult than it should be. Otherwise this a decent lens, and it has several advantages over the Asahi 50mm: closer minimum focus distance, larger maximum aperture, adjustable aperture, less vignetting—technically speaking, it’s a superior lens, but it’s missing the great character that is oozing from the vintage Asahi lens.

The reason why I selected this particular lens for this kit is because it’s the smallest 50mm X-mount lens available. I did discover that there’s actually a little more room in the bag for something slightly bigger. Ideally I’d like to replace this with a longer focal-length lens, but at the moment I’m just not sure what it will be, or when I’ll replace it. I do know that the inclusion of the 7artisans 50mm f/1.8 lens in my travel kit won’t last long.

7artisans 50mm f/1.8 Amazon

Conclusions

How ultimate is my “ultimate” Fujifilm travel kit? It’s not perfect, but it’s significantly better than what I was traveling with before. The bag is ideal. The two cameras are wonderful. There are some excellent lenses to choose from. No doubt about it, this is a really good kit for travel photography.

If anything, it’s the lens selection that’s not quite perfect. I like the 18mm and 27mm. The 35mm is great, too, but a little unnecessary since I have the 27mm. The X100V, with its built-in 23mm lens, is awesome. I like the Asahi Pentax 50mm lens, but it’s not especially practical for everyday photography. The 10mm Fisheye is good to have around, but not especially useful most of the time. Those two lenses take up very little space, so it’s easy to keep them in the bag just in case I want to use them, but I know that I won’t be using either of them all that often. I don’t need two 50mm lenses, so the 7artisans will be replaced.

Should I replace the Fujinon 35mm f/2? If so, with what? The 16mm f/2.8 is the same size, so it’s a logical option, although it creates the same redundancy problem, just at the wide-angle end, which actually might be slightly more practical. Maybe the Fujinon 16mm f/2.8 and the Fujinon 50mm f/2 would be good options to replace the 35mm and the 7artisans models. The 50mm f/2 is a little bigger, but I believe it would fit. The Fujinon 60mm f/2.4 might be an option instead of the 50mm, which would be preferable because it has a longer reach and is also a macro lens, but it might be a tad too big for the bag. Maybe I should consider a vintage model. Or maybe replace two primes with a zoom. There’s a lot to consider, and I think replacing one or two lenses will make this “ultimate” travel kit even better. I’ll let you know when I make that modification, and how it goes.

This trip to Arizona that I recently returned from was photographically so much more pleasant than my other travels over the last couple of years. A small camera bag filled with compact and lightweight gear—a purposeful assortment of cameras and lenses—is a night-and-day difference from the heavy backpack stuffed with everything that could fit that I used to haul around. Practical and petite is preferable when it comes to travel photography. Less is often more. This might not yet be the “ultimate” Fujifilm travel kit, but it’s pretty close, and will only get better.

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The Two Lens Travel Solution

Travel lenses

First ask, what is the point of photography on vacation.

Do you want to come back from a one week trip with 2,000 images, where you photographed nearly every second and every thing that you saw? Or would you prefer to come back with fewer but better photographs? Or prefer photographs that preserve the memories as well as some really special photographs of the beauty seen on your vacation.

You will need to make trade offs. If you want to cover every possible situation that might arise, you not only need to pack 20 pounds of gear, you must also be able to change lenses at the speed of light.

The advice I give in this post will not apply to every person and not every vacation. If I were going on an African Safari, I would pack very different lenses than I would for a beach holiday.

For me, my two lens kit comes with an appreciation that I may be forfeiting a few photography opportunities, while enabling me to capture the most important images at the best quality.

Of course, for most people, the purpose of travel and vacation go beyond just photography. You will likely be on your feet a lot. You may be facing airplane weight limits, etc. So there is certainly an incentive to keep your kit smaller, lighter and more portable.

Avoid the Superzoom

Superzoom lenses that can cover everything from wide angle to telephoto are very popular among dSLR owning vacation photographers. I strongly suggest staying away from them in most cases. While they avoid the need to change lenses, they tend to be heavy defeating some of the desired vacation portability. Further, they aren’t really wide enough when you want wide. If you are going to need telephoto on your trip, they don’t give that much telephoto. If you have low light needs on your trip (such as in a museum or church), these lenses are horrible in low light.

Lenses like the Sony 24-240, the Tamron 18-270, etc, are about a whole lot of major compromises just to get the benefit of less frequent lens changing. My advice is simple, if you don’t want to change lenses, then don’t buy an interchangeable lens cameras.

(The exception: If you are at the beach, dusty environment, or horrible weather, it is best to avoid changing lenses or doing so very carefully)

On Most Trips, You Really Don’t Need Telephoto

Among your lenses, your telephoto lenses are probably your biggest and heaviest. And you don’t even need them on most vacations.

If you are going on a safari, you absolutely need telephoto. But if you are strolling the streets of Venice, touring the Grand Canyon, or riding Splash Mountain at Disney World, you have little use for telephoto.

Sure, there may be a few “in the distance” shots that you won’t be able to get. But is vacation about using binoculars to see details far away? I submit that vacation is about immersing yourself in your surroundings and therefore you want photographs that preserve those immediate surroundings. If you want to photograph that Renaissance statue, you don’t want to just see it from a mile away and snap a photo. You want to get close to the statue.

Many photographers will use moderate telephoto for portraits — 70-200mm. I certainly will take family portraits on a vacation but these are very different than the portraits I take when I’m not traveling. The point of a travel portrait is to include the environment, for which I wouldn’t really need a telephoto lens. I can shoot tight headshots with blurred backgrounds anywhere. If my wife is standing in front of the Eiffel Tower, I don’t need a tight headshot with a blurred background.

Lens #1 – A “normal” 1.8 prime

When I’m on vacation, I’m taking in the sights with my eyes. A normal prime, something with the field of view of 45-55mm,, (remember APS-C cameras “crop” their lenses so you would need 30-35mm) gives me the same view that I was seeing with my eyes. These lenses tend to be very light and portable while also delivering some of the best image quality. These tend to be $100 to $500 lenses that can produce better image quality than $2000 zooms, while also being lighter and smaller.

Many people do not want to use prime lenses for travel because they want the convenience of zooming in and out. But modern cameras have so much resolution that if you are using a high quality lens, you can crop quite a bit. So this effectively gives you a bit of short telephoto. And the lens is already giving you the same perspective you’re seeing with your own eyes. Therefore, it’s a great way to photograph much of your vacation.

Because of their wide apertures, these lenses allow for shooting in museums, indoors and in low light when you can’t use a flash.

Importantly, they give you the same type of view that you would be seeing with your own eyes.

They can be utilized very well for people pictures from street photography to environmental portraits.

To emphasize the capabilities of such lenses, they can capture the most difficult of images. I can imagine few situations as difficult to photograph as dark rides at Disney World, and I can imagine no rides as difficult as Peter Pan. It’s dark, you are moving, you only have an instant to capture the perfect extreme low light photograph. Zoom lenses would be useless here, but a decent normal prime is perfect.

Lens #2 – An ultrawide zoom

Vacations usually involve a LOT of scenery. Whether natural landscapes, skyscrapers, theme parks, or architecture. When standing in the middle of such a landscape, you will turn your head from side to side and take it all in at once. When standing in the middle of a Church or museum, you will take in the architecture, the lights, the surroundings all at once. An ultrawide lens can create the same immersive experience in a photograph, letting you take it “all in.”

In this photograph of Daigon Alley at Universal Studios, an ultrawide lens is critical to being able to take in not just the fire breathing dragon, but the surrounding buildings and all the people looking up at it.

Ultrawide lenses provide a sense of scale, emphasizing openness and vastness as in the Lincoln Memorial image below:

Ultrawide lenses create a sense of immersion in the scene, which is the point of vacation/travel photography. Instead of just being images of the scene, they are images that bring you into the scene.

Or this image of the Philadelphia Museum of Art:

Or a way to appreciate the design of a cruise ship atrium… compare this to the chandelier detail shot above..

Ultrawide lenses can be critical to capturing architecture as otherwise there would not be enough room to capture an entire structure..

But a word of warning, ultrawide requires you to get very very close to your subject or you just get uninteresting empty space. In this example, I was really only a few feet from the cars:

Most super zooms and normal zooms start from an equivalent of 24mm or 28mm. This is wide enough for some situations but cannot create the deep immersion of something more like 15mm. While there are ultrawide primes, you will find that different scenes will require different focal lengths. At times, 20mm may be too wide while at other times even 16mm may not be wide enough.

I said above, that I really don’t typically need a telephoto on vacation. Let’s take a look at this image:

The cruise ship is far away. Without a telephoto lens, I can’t get a good detailed image of the ship from this distance. But I can find a million normal images of the ship just by typing it into google. And I had plenty of opportunities to get closer to the ship anyway. But with an ultrawide lens in my bag, I could capture this image which re-creates the entire environment.

The Net Result

My current two lens solution is the Sony FE 12-24 and Sony/Zeiss 55/1.8 . When I recently shot Nikon, my two lens solution was the Tamron 45/1.8 and the Nikon 18-35g and/or Irix 11mm/4 . When I traveled just with the Sony A6300, my lenses were the Sony 10-18/4 and 35/1.8 .

In each case, I was covered in equivalent focal lengths starting at about 12-18mm up to 45-55mm. Throw in some modest cropping, I basically have every focal length covered from 12mm to 70mm. At the same time, I am prepared for low light with a 1.8 prime. There is no one lens that could ever give me this amount of flexibility.

So for me, this kit balances flexibility, portability and the best possible image quality.

My Recommended Primes for Nikon/Canon full frame:

Currently priced at $400, the lenses are not the cheapest primes but they are cheaper than most zoom lenses. They weigh just over 500 grams, which doesn’t make them tiny but keeps the weight very reasonable. Importantly, they deliver superior image quality and have the added benefit of image stabilization/vibration reduction. This enhances their low light capabilities even more than most primes.

Of course, if you really want to keep the weight and price down, and you’re willing to forego vibration reduction/ image stabilization there is nothing wrong with these options for Canon and Nikon:

These lenses are cheap, the Canon is just over $100, the Nikon is just over $200. They are extremely light, compact and portable. And the image quality is far superior to any $1,000 big heavy super zoom.

For Canon APS-C and Nikon DX shooters:

A 50mm prime would give the equivalent view of 80mm (Canon) and 75mm (Nikon), not the “normal” view we are looking for. Therefore, you would need a 30-35mm prime lenses to get that normal view look.

For Sony Mirrorless shooters:

For full frame, my preference is:

But if you want to save money, there is nothing wrong with:

For APS-C, as I mentioned above:

Ultrawide Lens Recommendations

In recent years, we have developed a plethora of great choices.

For Canon and Nikon APS-C users, a great choice is:

Nikon recently introduced a great budget ultrawide:

For full frame, you really need to consider size as part of the equation. There are some phenomenal fast aperture ultrawide zooms, but they can be massive lenses. Then there are great options with slower aperture that are more affordable and much lighter.

So let’s start with the heavy, expensive, extra remarkable full frame lenses:

Good news for Sony shooters: When shooting ultrawide, even the best Sony lenses are fairly small. It is the benefit of the mirrorless design. So the following two lenses are just as good as the above 2 lenses, but much smaller.

So forget the superzoom. Save the telephoto lenses for safari vacations. 24-70/2.8 lenses are fantastic for many situations but you really don’t need that weight when you’re traveling.

And happy travels.

Two, or three XF prime kit for travel?

Thread starter Robmas4229
Start date Jun 23, 2019

Well-Known Member

Jun 23, 2019

There have been some really awesome responses to the "two lens" and "three lens" kit preference threads here on the forum. But if you were to share your preference, would you rather to travel with a two, or a three prime kit and your thoughts behind your preference? Or maybe only one? Just for fun, please don't get crazy serious or anything.

Having recently downsized X100t and zoom with feet

streetsntravel

For compactness: just as @gjhimages said, the X100* For versatility: a X-T* body(with tilting LCD), one lens that's normal to you and WR and one lens that convenient. That said, my choice is often/always the 14mm f/2.8, 18-55mm f/2.8-4 and (23mm f/2 | 35mm f/2), then I struggle whether to use a X-Pro2 or X-T2. I love shooting with primes, my travel companions almost always enjoy thing more when I take the 18-55. That lens and my X-T2 (with the flippy screen) can often be an only camera. Why so much emphasis on a tilting LCD? I find that when traveling I often get inspired to be creative in some aspect of my efforts. The tilting LCD can really be an enabler for that approach. It facilitates taking images at different angles (for me) and that often makes the stereotypical travel image appear different to the audience. For strictly a two lens, prime kit - that would be a 23mm f/2 (WR) and something else. The latter is often decided on as the travel plans evolve and often with discussions with the travel partner as we decide where the emphasis is going to be for the trip. Often the emphasis is not photography and I have to live with that. The compromise is then something along the lines that I get a brief period to concentrate on photography and I plan my other lens for that. Maybe it's interiors (14mm), people on the street (35mm), very special landscapes. For the latter, then the 23mm f/2 becomes my 23mm f/1.4 and the other lens is the 50mm f/2 (WR). I swap WR for optical excellence but make sure my second choice is WR. For me a third prime lens for travel doesn't make a lot of sense because the kind of things I photograph are often fall within the 23/35 range. To extend to a third prime then puts me back at the 18-55 and go enjoy the trip. You only have to clean the sensor a few times before someone gets tired of lens changes. If you ever can't accomplish the job yourself and it's important enough to find professional assistance, that's a lot of downtime in the middle of a trip. One plan that has worked well for my spouse and I in the past was I took the X100F and she took the Ricoh GR. She is partial to the 18mm lens and I prefer the 23mm. Another benefit is that we both had a wee little strobe, and the GR was just the right camera to hand to waiters or passersby to include us in photos.

I travel with zooms and one fast prime. However, typically the range a kit zoom covers is what you will want. From 16-55 mm. You can go wider than 16mm as well. I do know a Fuji shooter that only uses the 23mm f/1.4. If you were to have just one lens I would go 23mm as it's a 35mm equivalent or 35mm as it's a 50mm equivalent. If you had a kit lens and used it for awhile you could go to your favorite pictures and see what lengthocal.range they were shot at and from there buy a prime or two in that focal length. As for how many. I would travel with less. Then you aren't just worrying about your camera equipment and swapping lenses. That Lao depends on if you travel with someone and if that someone has patience or tolerance for your photography.

I just spent a week in DC with my XF10 and a single prime. I thought that was great. The trip I took to DC before that, I took an X Pro2 and three primes: 14mm, 23mm, and 50mm. I thought that was great too. I would be happy with either/both of those options. I guess the difference would be how much else I need to pack and how much time I have.

Active Member

I'm torn. It's probably three, but I'd prefer having two, and I miss the discipline and freedom of only one lens. Some years ago I was happy going anywhere with only a Ricoh GRD (Fuji 18mm equivalent) and after that with only a Panasonic 20mm (Fuji 27mm equivalent). I've also had several years of shooting film with just a 50mm, and the same with just a 35mm. Later, I moved away from Nikon because of the lack of wide DX primes. Got the 16mm f/1.4 and planned to get something like the 50mm f/2 later on and have done with it. Nice two-lens kit for everything, with a slower, more pocketable, longer lens to complement the 16mm that would be on the camera most of the time. That plan went awry when I saw a 35mm 1.4 and had to have it, and it's gone to pot now I've amassed five Zeiss Jena and Zeiss Contax lenses as well (three 50mm, one 80mm and one 135mm). I could choose just two, of course, but the 16mm has to come with me, it seems silly to leave the 35mm behind as it's not big or heavy, and the reach of a longer legacy lens is always attractive. That leaves three to choose. 16mm + 35mm + 80mm are nicely spaced. But maybe pack a 50mm for a more general-use longer lens and the 135mm for things in the distance? Or just get a zoom? ;-)

Three days in Manhattan: Fuji 23 1.4 and Zeiss Touit 32 1.8. Worked for me.

seeker of truth

Nowadays I choose to travel light, and that means only two lenses: a wide and a tele. That typically has been the 14 and the 90 but I’m thinking of trying the 16/1.4 and swapping the wider view for two more stops of speed. Nothing will ever supplant the 90. I’ve had more fun and satisfaction from that lens than any other lens I’ve ever owned, bar none, and that includes some rather exotic and pricey glass. The only lens that I would even briefly consider to replace the 90 would be the 80 macro but I don’t need a true macro (the 90 focuses plenty close for me) and I’m not sure I want to lose a stop in favor of OIS.

paulsmedia.au

16mm f1.4 The 16mm f1.4 is my all time #1 choice and is a mandatory selection. It is good in low light, allows close focusing giving interesting view points, is a great interior shooter as well as landscape and also good for cinema vérité lens.
27mm f2.8 For street use I would pick the 27mm pancake as it is the smallest and least noticeable XF lens
90mm f2 Lastly I would want something longer so probably would go for the 90mm f2, which is a equivalent to 135mm on full frame. This is another incredibly sharp lens and good bokeh and low light performer. It can produce outstanding portraits and also doubles as a lens that can pickup some architectural or landscape details
18-55mm The 18-55mm with OIS is a clear winner for a "must have" travel lens, although if size was not so important then the 18-135mm is also a strong contender
10-24mm Likewise the 10-24mm also with OIS, will easily handle interiors and landscapes
56mm or 60mm or 16mm Lastly I would pick a fast prime for portraits/low light. As whatever the choice is, the focal length would be already covered, I would be choosing between either the 56mm f1.2 or the 60mm f2.4 Macro. The latter is still good at portraiture, but allows for close ups, whereas the 56mm is the ultimate portrait king. Also a strong contender would be the 16mm f1.4 as described earlier. So this #3 position would be the most difficult choice.

kevistopheles

Jun 24, 2019

Definitely one lens. I’ve done it twice now on large trips and it was great. Not long ago I took a month long driving trip across the US Southwest with an X-Pro 1 and 18/2 and It was fantastic and most recently a 2 week trip to Barcelona with an adapted Nikon 35/2 and that worked out fine as well. You have less to carry and once you get used to the idea of not having another lens to go to it just becomes about working with what you have. If I were going again today I would favor something wide/normal for the most flexibility. Based on what Fuji has available probably the 23/1.4...although I wish they made a 28/2.

Chuck Walker

Robmas4229 said: There have been some really awesome responses to the "two lens" and "three lens" kit preference threads here on the forum. But if you were to share your preference, would you rather to travel with a two, or a three prime kit and your thoughts behind your preference? Or maybe only one? Just for fun, please don't get crazy serious or anything. Click to expand...

Robmas4229 said: Just for fun, please don't get crazy serious or anything. Click to expand...

Thanks everyone. I wasn’t actually looking for your recommendations for me, just curious about your particular preference and your thoughts behind it. For me, if I’m leaving zooms behind, I guess I prefer one body, X-E3 (or X-T2 if weather or particulate matter a potential) and two lenses.

After one week in Russia (Moscow and Saint Petersburg) I used only 3 lenses and never felt I was missing something: 1. Fuji 23mm F2: during the day as permanent lens on my X-T3 (sometimes I switched to the Voigtländer) 2. Samyang 12mm F2 in the bag during the day for shots inside buildings. 3. In the evening I switched very often to the Voigtländer 35mm F1.2 adapted on the Fuji I shot 55% with the 23mm, 40% with the Voigtländer and only 5% with the Samyang (in total more than 700 pics). I love the Voigtländer but I have to train myself more to get the shot wide open at F1.2 (I received the lens 1 week before the trip so not enough time for practice). But after this trip the Voigtländer 35mm F1.2 became my favorite lens. I also own the Fuji 27mm F2.8, 35mm F2 and 50mm F2 but I never use this lenses .

Triple Platinum Member

For work, I like to cover my bases with 2 bodies plus a back up and 4 lenses, but for personal & travel, one body one lens every time. It could be a prime or it could be a zoom, but I'd choose before I went and that would be that. There is just something about the purity of one lens, one body, especially when it's a prime.

Robmas4229 said: ...would you rather to travel with a two, or a three prime kit and your thoughts behind your preference? Or maybe only one? Click to expand...

I like these threads as I have still not convinced myself of a right answer so very interesting to see other's train of thought. If more than one lens I do think a 2nd body is good - but that's assuming the smaller bodies. Watching with interest.

joe aka back alley

2 xe3 bodies...16/2.8...23/2...35/2...50/2'''all fits easily into a domke f6 bag.

kevistopheles said: Definitely one lens. I’ve done it twice now on large trips and it was great. Not long ago I took a month long driving trip across the US Southwest with an X-Pro 1 and 18/2 and It was fantastic and most recently a 2 week trip to Barcelona with an adapted Nikon 35/2 and that worked out fine as well. You have less to carry and once you get used to the idea of not having another lens to go to it just becomes about working with what you have. If I were going again today I would favor something wide/normal for the most flexibility. Based on what Fuji has available probably the 23/1.4...although I wish they made a 28/2. Click to expand...

Based on my past experiences, I could easily make do with a single lens. I tend to find the 23mm f/1.4 my most-used length for travel just as the 35mm FL was with film. If I had to take a second lens it would be either a 14mm or 80/90mm depending upon what subject matter I would be most likely to encounter. I learned a long time ago that I "see" best with a 23mm (APS-C) or 35mm (FF) but you may see more naturally with something else entirely.

YogiMik said: I have a similar wish for 28mm, but faster F1.4, that renders as beautifully as 35/1.4. I am absolutely not interested in F2 fujicrons at all. And, I always travel with the backup camera. I do not wish to have my trip ruined. Click to expand...

hmmm...since I really like to travel light my first choice would be one lens. That said, I'm pretty flexible as to what lens that would be. I like 28mm as a general rule but could go up or down. For me the most important part is whether or not the lens can close focus. Fuji kit: 35/1.4 * Adapted kit: Vivitar 28/2 CF Sony kit: Sigma 30/1.4 DC M43 kit: Panasonic 20/1.7 Nikon kit (film): Nikkor -O 35/2 * my preference for Fuji would be something in that 23-28mm range (35-40mm FF equivalent) but I'm not a fan of the 27/2.8 or the 23/2, and IMHO the 35/1.4 is just spectacular so...

Vacation kit = X100F and X-t2/14mm 2.8

Kirstybell said: I like these threads as I have still not convinced myself of a right answer so very interesting to see other's train of thought. If more than one lens I do think a 2nd body is good - but that's assuming the smaller bodies. Watching with interest. Click to expand...

Jun 25, 2019

Since you want to know my personal preference. 1 lens: Mitakon 35mm f/0.95. I have handheld this lens at night. Handheld inside caves. Shot from plane windows. It's beautiful from wide open to stopped down. It's not just a wide open lens. Second choice would be Fuji 35mm f/1.4 or 35 f/2. 2 lens: Fuji 16mm f/1.4 You can close focus this lens. Sudo macro. Bokeh from a 16mm wide angle. Sharp edge to edge even wide open. Fast so you can handhold at night. Second choice would be Samyang 12mm f/2. Also a very close focusing lens. Super sharp. 3 lens. Very hard choice here. Not sure if I would go 23mm or something in the 50mm range or go telephoto.

Finder said: But you have a two-body kit. My two-body kit is an X Pro2 and XF10. I vary the lens on the X Pro depending on the conditions: 14mm, 23mm, or 50mm. The XF10 is always the alternative when shooting. The great thing about the XF10 is the size and weight--it does not add much to the X Pro system in terms of volume or mass, but takes images of equal quality. So, what do you use with your GR? Click to expand...

After all this time I've just decided that the best travel kit is the gear I use regularly at home. For me that's three XPro2 bodies with 16/2.8, 23/2 and 35/2. They all fit loosely in a Billingham F1.4 bag with extra batteries, extra cards and cleaning supplies. No need to carry everything all the time, just pick a single camera and focal length and go with it for the day. I've found I come home with better pictures this way than trying to cover every possible scenario with multiple focal lengths and ending up with boring "vacation pictures". Of course if space and weight are limited, it would mean taking less. I would take the X100S and the GRII and look for pictures to fit the gear.

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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.

best fujinon lenses for fujifilm camera body - wide angle versatile focal lengths for travel and light photography carry

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

best kit lens for travel photography - best zoom lens with wide focal range perfect for x-series cameras

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.

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

best telephoto zoom lenses for mirrorless cameras - best fujifilm lens with wide depth of field and versatile focal lengths

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.

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

35mm equivalent focal length best fujinon lens for travel

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

best fujifilm lens for travel photography - best fujifilm lenses with versatile focal length

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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Travel with Prime Lenses

Note: links in this post include affiliate links, and i receive a commission on purchases. thanks.

An important part of traveling for me is not only relaxing in some of the most beautiful places in the world, but also taking time for my primary hobby, photography. But I was stuck in a rut. I found myself shooting the same thing over and over again. My Canon 24-70mm/f 2.8 lens was on the front of my camera most of the time, and I found myself seeing and shooting the same compositions on nearly every trip. I needed to break out. When we last traveled to Nevis in 2011, 1745 of the 1959 shots I took were with that lens. That’s a whopping 89% of all shots taken. Since I began shooting film again in 2014, I had some more variety, but I decided that I needed to make a bigger change. So I left the 24-70 at home. It was time to experiment, and travel with prime lenses.

Replacing Zooms with Primes

It’s a little scary leaving your crutch at home, but I needed to mix it up. So I decided to rent a couple prime lenses to see what suited me for travel. My bag was going to get heavier, a fact I was reminded of every time my husband pulled my camera bag from the overhead compartment on the plane. I already owned the Canon 35mm/f 1.4 , the Canon 85mm f/1.8 , the Canon 135mm f/2 , and the Canon 200mm f/2.8 . I wanted to try some more nighttime photography and would miss the wider view of the 24mm, so I decided to rent the Canon 24mm f/1.4 . I also wanted to see if the Canon 85mm f/1.2 was worth the upgrade, so I rented that lens as well. I decided to leave the Canon 200mm f/2.8 at home and just bring the Canon 1.4x III Extender . The extender would extend the reach of the 135mm to 189mm, losing only one stop of light, but more importantly, giving me some options without adding much more weight.

What Did I Pack?

So here’s what I packed for my digital kit:

Canon 5d Mark II
Canon 24mm f/1/4
Canon 35mm f/1.4
Canon 85mm f/1.2
Canon 135mm f/2.0
Canon 1.4x III Extender

I also packed a film kit including:

Canon 1v (works with all the lenses for my digital body)
Mamiya 645 Pro TL
Mamiya 80mm f/1.9
Mamiya 45mm f/2.8

I included the Fotodiox adapter (Mamiya 645 to Canon EF) , allowing me to use the Mamiya lenses on the Canon bodies.

I selected lenses so I could limit the number of filters I needed. I always use circular polarizers in the islands as sunshine and water are on tap every day. I also bring neutral density filters and some grad filters for shooting water and sunsets. This kit used filters from 67mm to 77mm so I could limit the number of filters and step up/down rings. I also packed the Olympus Tough TG-3 and TG-4, but the use of those cameras was limited to use at the beach, on boats, and underwater.

I love the Mamiya 645 Pro TL, but this is probably the last long-distance trip it will be in my bag. The camera/viewfinder/winder are not very heavy, and break apart to fit in my bag, but the lenses add a lot of weight. From now on, I see bringing my Mamiya 6 only for medium format film photography. It is so much lighter and compact that it just makes more sense for air travel.

Travel with Prime Lenses – My Conclusions

So how did this kit fare? I certainly looked at things differently. I was not going to be bringing the entire kit wherever we went. I left the main bag in the hotel, and picked no more than two lenses when we went exploring. So to visit restaurants or bars, I brought the 35mm and the 85mm . To hunt for monkeys, I took the 135mm and the 1.4x extender . To shoot the night sky or the dock, I took the 24mm . I had to make decisions before I left, and then adapted to what I saw. I didn’t lose many shots as a result. What I lost was the crutch of the zoom and had to actively think about how I was going to compose my shots given the limitations of the focal lengths I had available. I felt more creative and able to bring some new compositions into my work.

Would I buy either of the lenses I rented?

If my 24-70 dies, I would buy the 24mm f/1.4 , but for now, I cannot justify the expense. The 85mm? I have read countless articles comparing the 85mm f/1.8 and the 85mm f/1.2 . The articles talk about how sharp the 85mm f/1.8 is and comment that the 85mm f/1.2 is slow to focus. Perhaps film has slowed me down, but I did not find any difficulty with the speed of focus on the 85mm f/1.2 . Those articles also speak of the “look” of the 85mm f/1.2 , which is not duplicated in the 85mm f/1.8 . With that, I agree. I loved the look of the 85mm f/1.2, and will keep it in mind down the road when I have some spare cash to spend on gear. If you can’t stomach the high price of the 85mm f/1.2 , the 85mm f/1.8 is a very sharp lens at a very reasonable price.

For those interested in renting, I rented from Borrow Lenses . I rented a wide angle from them for our trip to Ireland, and this experience was no different. My rental arrived timely, the gear was in great condition, and it was easy to return. I would highly recommend them if you are looking to rent to try out new gear.

If you’re stuck in a rut, but not ready to travel without your zooms, try a local photowalk or trip. Take only one or two lenses and challenge yourself to see things differently.

Also, take a look at our more recent post about traveling with the “holy trinity” of Canon prime lenses here!

We are KEH Affiliates, and earn commissions on purchases made using the links below – Thanks!

Canon 24mm F/1.4 L II USM EF Mount Lens {77} - With Case, Caps and

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The Moscow Metro Museum of Art: 10 Must-See Stations

There are few times one can claim having been on the subway all afternoon and loving it, but the Moscow Metro provides just that opportunity. While many cities boast famous public transport systems—New York’s subway, London’s underground, San Salvador’s chicken buses—few warrant hours of exploration. Moscow is different: Take one ride on the Metro, and you’ll find out that this network of railways can be so much more than point A to B drudgery.

The Metro began operating in 1935 with just thirteen stations, covering less than seven miles, but it has since grown into the world’s third busiest transit system ( Tokyo is first ), spanning about 200 miles and offering over 180 stops along the way. The construction of the Metro began under Joseph Stalin’s command, and being one of the USSR’s most ambitious building projects, the iron-fisted leader instructed designers to create a place full of svet (radiance) and svetloe budushchee (a radiant future), a palace for the people and a tribute to the Mother nation.

Consequently, the Metro is among the most memorable attractions in Moscow. The stations provide a unique collection of public art, comparable to anything the city’s galleries have to offer and providing a sense of the Soviet era, which is absent from the State National History Museum. Even better, touring the Metro delivers palpable, experiential moments, which many of us don’t get standing in front of painting or a case of coins.

Though tours are available , discovering the Moscow Metro on your own provides a much more comprehensive, truer experience, something much less sterile than following a guide. What better place is there to see the “real” Moscow than on mass transit: A few hours will expose you to characters and caricatures you’ll be hard-pressed to find dining near the Bolshoi Theater. You become part of the attraction, hear it in the screech of the train, feel it as hurried commuters brush by: The Metro sucks you beneath the city and churns you into the mix.

With the recommendations of our born-and-bred Muscovite students, my wife Emma and I have just taken a self-guided tour of what some locals consider the top ten stations of the Moscow Metro. What most satisfied me about our Metro tour was the sense of adventure . I loved following our route on the maps of the wagon walls as we circled the city, plotting out the course to the subsequent stops; having the weird sensation of being underground for nearly four hours; and discovering the next cavern of treasures, playing Indiana Jones for the afternoon, piecing together fragments of Russia’s mysterious history. It’s the ultimate interactive museum.

Top Ten Stations (In order of appearance)

Kievskaya station.

Kievskaya Station went public in March of 1937, the rails between it and Park Kultury Station being the first to cross the Moscow River. Kievskaya is full of mosaics depicting aristocratic scenes of Russian life, with great cameo appearances by Lenin, Trotsky, and Stalin. Each work has a Cyrillic title/explanation etched in the marble beneath it; however, if your Russian is rusty, you can just appreciate seeing familiar revolutionary dates like 1905 ( the Russian Revolution ) and 1917 ( the October Revolution ).

Mayakovskaya Station

Mayakovskaya Station ranks in my top three most notable Metro stations. Mayakovskaya just feels right, done Art Deco but no sense of gaudiness or pretention. The arches are adorned with rounded chrome piping and create feeling of being in a jukebox, but the roof’s expansive mosaics of the sky are the real showstopper. Subjects cleverly range from looking up at a high jumper, workers atop a building, spires of Orthodox cathedrals, to nimble aircraft humming by, a fleet of prop planes spelling out CCCP in the bluest of skies.

Novoslobodskaya Station

Novoslobodskaya is the Metro’s unique stained glass station. Each column has its own distinctive panels of colorful glass, most of them with a floral theme, some of them capturing the odd sailor, musician, artist, gardener, or stenographer in action. The glass is framed in Art Deco metalwork, and there is the lovely aspect of discovering panels in the less frequented haunches of the hall (on the trackside, between the incoming staircases). Novosblod is, I’ve been told, the favorite amongst out-of-town visitors.

Komsomolskaya Station

Komsomolskaya Station is one of palatial grandeur. It seems both magnificent and obligatory, like the presidential palace of a colonial city. The yellow ceiling has leafy, white concrete garland and a series of golden military mosaics accenting the tile mosaics of glorified Russian life. Switching lines here, the hallway has an Alice-in-Wonderland feel, impossibly long with decorative tile walls, culminating in a very old station left in a remarkable state of disrepair, offering a really tangible glimpse behind the palace walls.

Dostoevskaya Station

Dostoevskaya is a tribute to the late, great hero of Russian literature . The station at first glance seems bare and unimpressive, a stark marble platform without a whiff of reassembled chips of tile. However, two columns have eerie stone inlay collages of scenes from Dostoevsky’s work, including The Idiot , The Brothers Karamazov , and Crime and Punishment. Then, standing at the center of the platform, the marble creates a kaleidoscope of reflections. At the entrance, there is a large, inlay portrait of the author.

Chkalovskaya Station

Chkalovskaya does space Art Deco style (yet again). Chrome borders all. Passageways with curvy overhangs create the illusion of walking through the belly of a chic, new-age spacecraft. There are two (kos)mosaics, one at each end, with planetary subjects. Transferring here brings you above ground, where some rather elaborate metalwork is on display. By name similarity only, I’d expected Komsolskaya Station to deliver some kosmonaut décor; instead, it was Chkalovskaya that took us up to the space station.

Elektrozavodskaya Station

Elektrozavodskaya is full of marble reliefs of workers, men and women, laboring through the different stages of industry. The superhuman figures are round with muscles, Hollywood fit, and seemingly undeterred by each Herculean task they respectively perform. The station is chocked with brass, from hammer and sickle light fixtures to beautiful, angular framework up the innards of the columns. The station’s art pieces are less clever or extravagant than others, but identifying the different stages of industry is entertaining.

Baumanskaya Statio

Baumanskaya Station is the only stop that wasn’t suggested by the students. Pulling in, the network of statues was just too enticing: Out of half-circle depressions in the platform’s columns, the USSR’s proud and powerful labor force again flaunts its success. Pilots, blacksmiths, politicians, and artists have all congregated, posing amongst more Art Deco framing. At the far end, a massive Soviet flag dons the face of Lenin and banners for ’05, ’17, and ‘45. Standing in front of the flag, you can play with the echoing roof.

Ploshchad Revolutsii Station

Novokuznetskaya Station

Novokuznetskaya Station finishes off this tour, more or less, where it started: beautiful mosaics. This station recalls the skyward-facing pieces from Mayakovskaya (Station #2), only with a little larger pictures in a more cramped, very trafficked area. Due to a line of street lamps in the center of the platform, it has the atmosphere of a bustling market. The more inventive sky scenes include a man on a ladder, women picking fruit, and a tank-dozer being craned in. The station’s also has a handsome black-and-white stone mural.

Here is a map and a brief description of our route:

Start at (1)Kievskaya on the “ring line” (look for the squares at the bottom of the platform signs to help you navigate—the ring line is #5, brown line) and go north to Belorusskaya, make a quick switch to the Dark Green/#2 line, and go south one stop to (2)Mayakovskaya. Backtrack to the ring line—Brown/#5—and continue north, getting off at (3)Novosblodskaya and (4)Komsolskaya. At Komsolskaya Station, transfer to the Red/#1 line, go south for two stops to Chistye Prudy, and get on the Light Green/#10 line going north. Take a look at (5)Dostoevskaya Station on the northern segment of Light Green/#10 line then change directions and head south to (6)Chkalovskaya, which offers a transfer to the Dark Blue/#3 line, going west, away from the city center. Have a look (7)Elektroskaya Station before backtracking into the center of Moscow, stopping off at (8)Baumskaya, getting off the Dark Blue/#3 line at (9)Ploschad Revolyutsii. Change to the Dark Green/#2 line and go south one stop to see (10)Novokuznetskaya Station.

Check out our new Moscow Indie Travel Guide , book a flight to Moscow and read 10 Bars with Views Worth Blowing the Budget For

Jonathon Engels, formerly a patron saint of misadventure, has been stumbling his way across cultural borders since 2005 and is currently volunteering in the mountains outside of Antigua, Guatemala. For more of his work, visit his website and blog .

Photo credits: SergeyRod , all others courtesy of the author and may not be used without permission

Elektrostal, Russia

Region: Moscow Oblast

Geographic coordinates: 55.783300, 38.466700, temperature range: -40.0°c to 30.0°c (-40°f to 86°f), climate: cold and snowy winters, mild summers with occasional heat waves., population: 158508, language: russian.

Elektrostal, Located in the Moscow Oblast region of Russia, Is a city known for its industrial heritage and diverse economy. With a population of around 150, 000 people, It lies approximately 50 kilometers east of Moscow. Founded in 1916 as an industrial center for steel and metal production, Elektrostal’s most notable landmark is the Elektrostal Metallurgical Plant (EMZ). The plant produces various steel products including railway wheels, Pipes, Wire rod, And sheet metal. Apart from its industrial significance, Elektrostal offers several cultural attractions that are worth visiting.

The Museum-Estate Kuskovo features an impressive collection of art and artifacts from the 18th century. Lake Senezh – a large freshwater lake outside Elektrostal’s city limits – provides opportunities for swimming, Boating or fishing during summer months. Elektrostal also has several parks where visitors can enjoy outdoor activities such as hiking or cycling. Gorky Park features walking paths along with sports facilities like tennis courts and basketball courts. Public transport within Elektrostal itself is convenient with numerous bus routes connecting different parts within the city limits as well as nearby towns like Noginsk or Dmitrovskiy Districts in Moscow Region.

Overall Elektrostal offers visitors an interesting mix of industrial heritage, Cultural attractions and natural beauty making it definitely worth a visit whether you’re interested in learning about Russia’s steel industry or simply want to enjoy the outdoors.

Important Landmarks

The Museum of Local Lore – it showcases the history and culture of the town.
The Church of St. Nicholas – a beautiful Orthodox church built in the 19th century.
Victory Park – a large park with several monuments dedicated to World War II heroes.
Ice Palace Vityaz – a modern ice arena that hosts various sports events and concerts.
Elektrostal Central Park – a popular spot for picnics, walking, and outdoor activities.
The Monument to Soviet Soldiers – located in Victory Square, it honors soldiers who died during World War II.
Elektrostal History Museum – displays artifacts from ancient times to present day including photographs, documents, paintings etc.,
Kuzminsky Park- A beautiful park with greenery all around perfect for spending some quality time with family or friends

Primary Industries

Metallurgical Industry: Elektrostal is renowned for its steel production industry that involves the manufacturing of steel pipes, wires, sheets and other metal products.
Chemical Industry: The city boasts several chemical plants that produce chemicals such as ammonia, fertilizers and plastics.
Machinery Industry: Elektrostal has a significant machinery industry that produces machine tools, mining equipment and other industrial machinery.
Construction Materials Industry: There are several cement factories in the city producing cement and concrete products.
Food Processing Industry: Several food processing plants operate within the city producing dairy products, meat products and other food items.
Energy Sector: The city houses a thermal power plant which supplies electricity to the region.
Retail and Service Sector: Additionally, there is a well-developed retail sector with shopping centers, supermarkets and small shops catering to the local population’s needs.

Noteable History

The city was founded in 1916 as a center for steel production during World War I.
During World War II, Elektrostal played a crucial role in supplying the Soviet army with weapons and ammunition.
In 1957, the first nuclear power plant in Russia was built near Elektrostal.
The city is known for producing high-quality steel that is used in various industries such as automotive, aerospace, and construction.
Notable people from Elektrostal include Olympic gold medalist figure skater Irina Slutskaya and former Russian Prime Minister Sergei Kiriyenko.
In recent years, the city has undergone significant modernization efforts to improve its infrastructure and attract new businesses to the area.

Museums and Things To See

Museum of Local Lore: This museum showcases the history and culture of Elektrostal and the surrounding region.
Victory Park: A large park dedicated to the victory in World War II, with monuments, memorials, and a military museum.
Church of St. Nicholas: A beautiful Orthodox church with stunning frescoes and icons.
The House-Museum of V.V.Vorovsky: This museum is dedicated to the revolutionary leader Vorovsky who lived in Elektrostal for a time.
The Central Culture and Leisure Park: A popular park with various attractions like amusement rides, sports facilities, cafes etc.
The Monument to the First Builders of Elektrostal: This monument commemorates those who built the city’s first industrial complex.
Art Gallery Art-El: An art center featuring works by local artists as well as exhibitions from around Russia and beyond.
Museum Elektrosvet: A unique museum showcasing lighting equipment from various periods starting from 19th century till present day.

Cultural Events

City Day Celebration: This festival is held annually on the first weekend of September to celebrate the founding of Elektrostal.
International Festival The World of Dance: A dance festival featuring performances from various countries around the world.
Folklore Kaleidoscope Festival: A cultural event showcasing traditional folk music, dance, and costumes from different regions of Russia.
Art-Electro Festival: An art exhibition featuring works by local artists as well as artists from other parts of Russia.
Jazz Festivals: There are several jazz festivals held throughout the year in Elektrostal which feature performances by local and international jazz musicians.

Shashlychnaya No. 1 – A restaurant specializing in shashlik (Russian kebabs) and other grilled meats.
Cafe U Dvukh Medvedey – A cozy cafe serving traditional Russian dishes like borscht, pelmeni (dumplings), and blini (pancakes).
Pivnaya Apteka – A beer bar with a wide selection of craft beers from Russia and around the world.
Kebab House – A fast-food chain offering various types of kebabs, falafel wraps, and salads.
Cafe Podkova – Another cozy cafe serving Russian dishes like beef stroganoff, chicken Kiev, and dumplings with different fillings.
Restaurant Kolbasny Dom – A meat lover’s paradise with various types of sausages, smoked meats, and steaks on the menu.
Sushi Master – For those who crave Japanese cuisine; this sushi restaurant offers fresh sushi rolls and sashimi plates.
Pizzeria Mama Mia!- If you’re in the mood for Italian food; this pizzeria offers delicious pizzas made from scratch using fresh ingredients.
Cafe Kamelot- A cozy café serving traditional Russian dishes such as borscht soup,pelmeni (dumplings),and vareniki(boiled dumplings).
Restaurant “Gagarin”- Named after Yuri Gagarin; this restaurant serves European cuisine including steaks,pasta,and salads along with exotic cocktails to choose from!

Parks and Recreation

Central Park of Culture and Rest
Park of the 50th Anniversary of Victory
Park of the 300th Anniversary of Elektrostal
Sports and Recreation Complex Olympic
Ice Palace Elektrostal
Ski resort Krugloye Ozero
Beach complex Sunny Beach
Tennis club Elektrostal
Bowling club Strike
Paintball club Delta Force

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Claudia Looi

Touring the Top 10 Moscow Metro Stations

By Claudia Looi 2 Comments

Komsomolskaya metro station looks like a museum. It has vaulted ceilings and baroque decor.

Hidden underground, in the heart of Moscow, are historical and architectural treasures of Russia. These are Soviet-era creations – the metro stations of Moscow.

Our guide Maria introduced these elaborate metro stations as “the palaces for the people.” Built between 1937 and 1955, each station holds its own history and stories. Stalin had the idea of building beautiful underground spaces that the masses could enjoy. They would look like museums, art centers, concert halls, palaces and churches. Each would have a different theme. None would be alike.

The two-hour private tour was with a former Intourist tour guide named Maria. Maria lived in Moscow all her life and through the communist era of 60s to 90s. She has been a tour guide for more than 30 years. Being in her 60s, she moved rather quickly for her age. We traveled and crammed with Maria and other Muscovites on the metro to visit 10 different metro stations.

Arrow showing the direction of metro line 1 and 2

Moscow subways are very clean

To Maria, every street, metro and building told a story. I couldn’t keep up with her stories. I don’t remember most of what she said because I was just thrilled being in Moscow. Added to that, she spilled out so many Russian words and names, which to one who can’t read Cyrillic, sounded so foreign and could be easily forgotten.

The metro tour was the first part of our all day tour of Moscow with Maria. Here are the stations we visited:

1. Komsomolskaya Metro Station is the most beautiful of them all. Painted yellow and decorated with chandeliers, gold leaves and semi precious stones, the station looks like a stately museum. And possibly decorated like a palace. I saw Komsomolskaya first, before the rest of the stations upon arrival in Moscow by train from St. Petersburg.

2. Revolution Square Metro Station (Ploshchad Revolyutsii) has marble arches and 72 bronze sculptures designed by Alexey Dushkin. The marble arches are flanked by the bronze sculptures. If you look closely you will see passersby touching the bronze dog's nose. Legend has it that good luck comes to those who touch the dog's nose.

Touch the dog's nose for good luck. At the Revolution Square station

Revolution Square Metro Station

3. Arbatskaya Metro Station served as a shelter during the Soviet-era. It is one of the largest and the deepest metro stations in Moscow.

Arbatskaya Metro Station

4. Biblioteka Imeni Lenina Metro Station was built in 1935 and named after the Russian State Library. It is located near the library and has a big mosaic portrait of Lenin and yellow ceramic tiles on the track walls.

Lenin's portrait at the Biblioteka Imeni Lenina Metro Station

5. Kievskaya Metro Station was one of the first to be completed in Moscow. Named after the capital city of Ukraine by Kiev-born, Nikita Khruschev, Stalin's successor.

Kievskaya Metro Station

6. Novoslobodskaya Metro Station was built in 1952. It has 32 stained glass murals with brass borders.

Novoslobodskaya metro station

7. Kurskaya Metro Station was one of the first few to be built in Moscow in 1938. It has ceiling panels and artwork showing Soviet leadership, Soviet lifestyle and political power. It has a dome with patriotic slogans decorated with red stars representing the Soviet's World War II Hall of Fame. Kurskaya Metro Station is a must-visit station in Moscow.

Ceiling panel and artworks at Kurskaya Metro Station

8. Mayakovskaya Metro Station built in 1938. It was named after Russian poet Vladmir Mayakovsky. This is one of the most beautiful metro stations in the world with 34 mosaics painted by Alexander Deyneka.

Mayakovskaya station

One of the over 30 ceiling mosaics in Mayakovskaya metro station

9. Belorusskaya Metro Station is named after the people of Belarus. In the picture below, there are statues of 3 members of the Partisan Resistance in Belarus during World War II. The statues were sculpted by Sergei Orlov, S. Rabinovich and I. Slonim.

10. Teatralnaya Metro Station (Theatre Metro Station) is located near the Bolshoi Theatre.

Teatralnaya Metro Station decorated with porcelain figures .

Taking the metro's escalator at the end of the tour with Maria the tour guide.

Have you visited the Moscow Metro? Leave your comment below.

January 15, 2017 at 8:17 am

An excellent read! Thanks for much for sharing the Russian metro system with us. We're heading to Moscow in April and exploring the metro stations were on our list and after reading your post, I'm even more excited to go visit them. Thanks again 🙂

December 6, 2017 at 10:45 pm

Hi, do you remember which tour company you contacted for this tour?