Last Updated May 2026: Of all the articles that I have written, this one remains one of my favourites as it is still highly relevant and its intent is to try and simplify things and save you money by avoiding the trap of buying too much. I still believe these lens kits make as much sense as ever.

So you’ve got your X-T5 — which I personally think is the best photography camera Fujifilm makes right now and the best travel camera. It is incredibly versatile, from family photography to travel. But with the sheer amount of Fuji lenses available, it can be hard to figure out what you actually need in order to shoot the kind of photos you want.

If you’re new, it’s easy to fall into the trap of thinking you need a massive bag full of lenses to cover every possible scenario. But as you gain experience, you start to realise that 2–3 quality lenses are all you really need. This holds true whether you’re shooting landscapes, wildlife, or just general travel and family photography.

If you just want to get straight to the best lenses for the X-T5 recommendations click the link below that most interests you.

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Some of the best photographers in history have worked this way. Sebastião Salgado, Ernst Haas, Don McCullin — they each had a strong preference for just one or two primary lenses. And if you’ve heard of the so-called “Holy Trinity” of lenses (the standard ultrawide, standard zoom, and telephoto zoom setup), you’ll know it usually means 14–30mm, 24–70mm, and 70–200mm. The problem is, even on APS-C, that kit gets heavy fast.

I could just take the standard line and tell you to go out and buy all the best professional-grade zooms, mix in a handful of the top primes, and call it a day. But that simply isn’t true. For most people it’s unnecessary, it will cost you a fortune, and it won’t make your photos any better. In fact, once you have a bag full of heavy, expensive gear, it might put you off taking your camera out altogether.

If you’re looking for more detailed comparisons then I compared the Fuji 18mm 1.4WR vs the Fuji 23mm 1.4WR here. I also have other lens comaprisons on the website that can be searched.

That’s why I’m writing this article: to cut through the noise and clarify which Fuji lenses you really need for the X-T5 — and, just as importantly, which lenses pair together well. It’s not a comprehensive list that covers every scenario, but rather a set of 1- 2- and 3-lens setups that balance versatility, quality, and practicality. And if one lens doesn’t suit your exact needs, feel free to swap it — the idea here is to simplify the decision and help you build a kit that works.

Landscape Kit: Wide to Telephoto Versatility

A lot of people will tell you to go with the “holy trinity” of zooms for landscapes — an ultrawide, a standard zoom, and a telephoto. And while that’s perfectly valid, my own experience as a professional landscape photographer in the Outer Hebrides of Scotland taught me something different.

Like many beginners, I once thought landscape photography was all about going as wide as possible. I shot almost exclusively with the Canon 10–22mm and 17–40mm lenses. But after a while, I grew tired of the exaggerated perspective. I found myself reaching more often for the 24–105mm and even the 70–200mm, which allowed me to create more intentional, less “gimmicky” compositions.

On the Fuji system, the XF 10–24mm f/4 OIS WR hits the sweet spot. It gives you that option to go ultrawide when needed, but most of the time you’ll find the 24–35mm equivalent range more natural for landscapes. It’s compact, sharp enough, weather sealed, and a great all-rounder.

Why not the XF 8–16mm f/2.8? Several reasons. First, it doesn’t take filters easily — you need bulky, expensive mounting systems to use them. Second, it’s significantly heavier than the 10–24mm. Third, you don’t need f/2.8 for landscapes. Even with the 10–24mm, you’ll almost always be stopping down to f/5.6 or beyond. Yes, the 8–16mm may be sharper, but if sharpness alone makes or breaks your photo, then the composition probably isn’t strong enough in the first place.

Pair the 10–24mm with the XF 70–300mm f/4–5.6 OIS WR and you’ve got a landscape kit that covers everything from expansive wide views to intimate detail shots. The telephoto is an underused tool in landscapes — it allows you to compress a scene, isolate textures, or highlight patterns that would get lost with a wide-angle lens. The 70-300mm is sharp, relatively light and compact and is weather sealed.

Why not the XF 50–140mm f/2.8? Again, it comes down to practicality. The 70–300mm is lighter, covers a broader range, and for landscapes you’ll rarely benefit from the wider aperture of the 50–140mm. Weight and cost savings matter more when you’re carrying gear across long hikes.

If you feel the gap between 24mm and 70mm is too big, you can always slot in a tiny prime like the XF 35mm f/2 WR or XF 50mm f/2 WR . Both hardly add any weight to your bag, yet they give you a capable low-light option and round out the kit nicely.

Why this kit works: A lightweight, weather-sealed setup that balances the dramatic look of wide angles with the subtlety and precision of telephoto landscapes. Perfect for XT5 shooters who want flexibility without hauling a massive bag.

I’ve linked everything included in this landscape kit below, all in one place to make it easy for you to find.

Of course, not everyone is heading into the hills with their X-T5. For most people, the real challenge is travel photography — finding a kit that’s versatile enough for everything from city streets to sunsets on the beach.

Travel Kit: Zoom Plus Prime for Flexibility

There are two main ways to approach travel photography. These days, I tend to keep it simple with a prime-only kit. But for someone starting out, I recommend going with a zoom plus a prime lens. There are a couple of reasons for this.

First, a zoom lens gives you the flexibility to capture a wide range of subjects — from street scenes and architecture to tighter portraits and details — without constantly changing lenses. Second, when you’re new, you might not have worked out your shooting style yet or which focal lengths you prefer. A zoom lets you experiment, while the prime gives you a taste of faster glass for low-light and portraits.

For the zoom, I recommend sticking with the XF 18–55mm f/2.8–4 R LM OIS. It’s one of the best “kit” lenses on the market, and when bundled with a Fuji body, it often costs less than $100 extra. At 18mm (27mm full-frame equivalent) it’s wide enough for storytelling, street, and architecture. At 55mm (82.5mm equivalent) it reaches into portrait and detail territory. It’s sharp, relatively bright for a kit lens, and thanks to optical image stabilization, it’s surprisingly capable in low light — as long as your subject isn’t moving too much. It’s compact and lightweight, though not weather sealed. Honestly, unless you specifically need more reach (as with the 16–80mm) or pro-level sharpness and build (as with the 16–55mm f/2.8II), the 18–55mm is good enough to get you started — and far more portable.

To complement it, add a fast prime. The XF 35mm f/2 WR is an excellent lightweight choice — discreet, weather-sealed, and sharp, it’s a perfect walkaround lens that can handle evening street shooting and portraits. If you want something with more character and even better performance, go for the XF 33mm f/1.4 WR. It’s larger and more expensive, but the image quality and low-light performance make it a worthwhile investment for anyone serious about travel photography.

Why this kit works: It covers almost every travel scenario while keeping weight down. The 18–55mm handles daytime flexibility, while the 35mm or 33mm prime lets you shoot confidently in low light and gives portraits that extra special look.

I have linked to this kit below. If you don’t already have the 18-55mm lens then I have also included the XF 16-80mm lens in this kit. It gives a little more reach, a constant aperture and weather sealing. All the items are linked in one place to make it easy for you to find them.

If you already know you prefer primes, there’s an even simpler and more focused way to travel — leaving the zoom behind and committing to fast Fuji primes only.

Travel Kit: Prime-Only for the Purist

If you prefer to shoot primes, like I do, then Fujifilm gives you fantastic options ranging from compact and affordable to pro-level optics. For the sake of this section, I’ll assume that if you’re considering a prime-only travel kit, you’ve already got some experience, you value image quality, and you appreciate just how compact Fuji’s best primes are compared to full-frame equivalents.

My go-to two-lens travel kit would be:

• XF 23mm f/1.4 WR → This is my storytelling lens. The focal length is flexible enough for street photography, group shots, and everyday context, while offering superb image quality, fast autofocus, and weather sealing.
• XF 56mm f/1.2 WR → This gives you the ability to capture portraits and tighter details with beautiful subject isolation and pro-level rendering. Fuji 56mm 1.2 WR review here

Together, these two lenses cover everything from mild wide-angle to intimate portraits in a lightweight package that delivers professional image quality.

• XF 23mm f/1.4 WR → My storytelling lens. Flexible for street, groups and everyday context, with superb image quality, fast AF and weather sealing.
• XF 56mm f/1.2 WR → Portrait/tight detail specialist with beautiful subject isolation and pro-level rendering.

If you want a one-lens setup, I’d suggest the XF 33mm f/1.4 WR. The 50mm-equivalent field of view is, in my opinion, the most versatile single focal length for travel — wide enough to tell a story, long enough for portraits, and with excellent low-light performance.

If you prefer a three-lens setup for more separation between focal lengths, I’d recommend:

• XF 18mm f/1.4 WR
• XF 33mm f/1.4 WR
• XF 56mm f/1.2 WR (or XF 90mm f/2 R LM WR if you want extra reach)

All of these lenses are excellent. The Fuji 18mm 1.4WR lens is immersive for landscapes and cityscapes, the 33mm is a classic all-rounder, and the 56mm/90mm give you beautiful portrait options. While the 56mm autofocus is a touch slower, it’s still more than good enough for most travel scenarios.

Want to travel even lighter? I often go with Fuji’s compact “Fujicron” primes (the XF 23mm f/2 , reviewed here, 35mm f/2, and 50mm f/2) and just take two or three depending on the trip and subjects I expect. They’re discreet, weather-sealed, and offer excellent image quality in a tiny package. if you are trying to decide, I compared the Fuji 50mm f2 against the 56mm 1.2WR.

Why this kit works: A prime-only setup requires a shift in mindset. Instead of trying to cover every possible situation, you commit to a small number of focal lengths and make them work. That limitation forces you to slow down, think about your compositions, and ultimately come home with stronger images — even if you miss the odd shot along the way.

I have linked to all of these primes in the kit below for ease.

But what about closer to home? For me, the most meaningful photos I take with the X-T5 aren’t from travel or landscapes at all — they’re the ones of my family as my daughters grow up.

Family Kit: One Lens, One Perspective

When it comes to photographing my family, I don’t want to cover every possible scenario. My wife has a phone for snapshots — the “we were here” photos. What I want to create are images that stand out: pictures of my daughters that capture emotion, interaction, and milestones in their childhood. The kinds of photos I can print, frame, and look back on years later to feel all those moments flood back.

That’s why I don’t recommend buying a bag full of lenses for family photography. Instead, pick one truly great lens and learn to use it for everything. Over the years, you’ll build a catalogue of images tied together not only by emotion and quality, but also by a consistent perspective.

For this approach, I recommend either the XF 23mm f/1.4 WR or the XF 33mm f/1.4 WR.

• The 23mm f/1.4 WR gives you more context. It’s wide enough for capturing your children in their environment — playing in the living room, baking with grandparents, blowing out candles at a birthday party — while still being fast and sharp enough to handle low light.
• The 33mm f/1.4 WR offers a more intimate look. The tighter field of view helps you isolate your subject and create photos that feel closer, more personal, and emotionally charged.

Both lenses are among the sharpest I’ve used, well built, and compact compared to zooms or full-frame equivalents. Both are weather-sealed, so you don’t have to pack your camera away the first time your kids play in the rain or snow. And both deliver professional-looking shallow depth of field that transforms everyday moments into something timeless.

Why this kit works: By choosing one high-quality lens and committing to it, you free yourself from gear decisions and focus entirely on moments. Whether you prefer the wider storytelling perspective of the 23mm or the intimate feel of the 33mm, you’ll end up with a consistent body of work that documents your family’s life in the best possible way. That’s not to say you can’t add a second lens to your bag — I sometimes do. But the key is knowing why you’re carrying it, rather than trying to cover every possible moment. Most of the time, I still follow this one-lens approach because it keeps me focused and results in stronger photos.

You can find both of the primes plus others linked below:

Final thoughts

The Fuji X-T5 is an incredibly versatile camera, and yes — you could build an entire bag of lenses around it. But in my experience, you don’t need to. Whether it’s the 10–24mm paired with the 70–300mm for landscapes, a flexible zoom-plus-prime travel kit, or simply one exceptional lens for documenting family, you’ll find that keeping things simple actually leads to stronger photos.

But what about wildlife shooters? Honestly, I only write about what I really know, where I feel I can add value. Yes, I’ve shot wildlife, in fact I shoot it regulalry on the Nikon Z system here in Scotland but I haven’t shot it on Fuji so I can’t give you the kind of deep, trustworthy advice I’d want to stand behind. I’d rather give you fewer, better recommendations than generic advice on every topic.

If you specifically want guidance in those areas, I’m happy to help — just leave a comment below or contact me directly. Having run a camera store and worked professionally as a photographer, I can point you in the right direction. But for this article, I’ve focused only on the setups I truly believe in and have been using consistantly myself.

The right kit isn’t about covering every scenario. It’s about choosing the lenses that inspire you to pick up the camera, learn them deeply, and focus on the moments that matter.

If you’re building out your Fuji X-T5 kit, don’t miss my XT5 Accessories Guide for the best add-ons, and grab my free XT5 Setup Files to get the most out of your camera from day one.

Update January 2026. It’s hard to believe just how long ago it was since I wrote this review. I stand by the fact that the Olympus 12-40mm f/2.8 Pro is still a fantastic lens and one that I used for years. I am heading back to the UK next week, where I will pick up my OM1 Mark II and the OM System 12-40mm f/2.8 Pro mark II. Essentially the same lens. That says a lot about how I regard this lens. I still use the newer version, to this day, 8 years later. In fact I’ve just featured it in my best lenses for travel photography with the Om-3 article. Stay tuned for more OM Systems articles coming soon. You can see my OM1 review here and why I bought the OM-3 here.

In this Olympus 12-40mm f2.8 review I will go through the pros and cons of this professional grade zoom lens after having used it for well over a year in my personal and professional work.

The Olympus 12-40mm f/2.8 was the first in Olympus’ Pro series of lenses designed for Micro 4/3 cameras. It is a weatherproof (dust, splash and freeze proof) fixed aperture zoom lens offering the 35mm equivalent field of view of a 24-80mm lens. It has a fixed aperture of f/2.8 throughout the zoom range with a filter thread of 62mm.

Build Quality

The first thing you will notice when you pick up the 12-40mm is the build quality. Like all of the Olympus Pro range of lenses it is extremely well made. At 382 grams and featuring a metal construction it feels solid in the hand and inspires confidence in use. For me it fits perfectly on the Olympus E-M5 II with the HLD-8G grip attached or on the EM1 and Em1 II giving you a weather sealed combination.

There is also an additional function button on the lens which you can program to activate a variety of features by simply customising it in camera.

While it is a larger lens for Micro 4/3 in comparison to some of the tiny primes, it is not oversized and much smaller than something like the Canon 24-70mm f/2.8. You can carry it attached to your camera all day and not notice the weight.

Olympus 12-40mm f2.8 Review – Focus

This is going to be a very quick section because all there is to say is that focus is as fast as any lens on the system. It is instantaneous to focus and is deadly accurate. Absolutely no issues here.

The zoom ring is nicely damped and it features a manual focus clutch mechanism that allows you to easily swap between auto and manual focus simply by pulling the clutch back or pushing it forward. It uses focus by wire but don’t let that put you off as the focus ring is incredibly smooth and allows you to easily and finely adjust your focus.

Zoom markings are shown for 12, 14, 18, 25, 35, and 40mm. If you pull back on the focus ring you put the lens into manual focus mode and reveal a focus scale. The focus scale has markings at 1’, 2’, 5’, and .2m, .5m, and 1m, plus infinity. Close focus is 8” (0.2m), and the lens can produce a 1:3.3 magnification ratio at 40mm.

The Olympus 12-40mm zooms externally so it increases in length from 3.3″ -5″ when extended.

Olympus 12-40mm f2.8 Review – Image Quality

The 12-40mm pro does suffer with some barrel distortion at the wide end if you shoot raw. The Jpegs are corrected in camera and the software does a good job in most cases. At 40mm there is a slight amount of pin cushion distortion. If you are shooting raw and have straight lines in your shots then you will need to correct in post.

The lens also shows some vignetting when wide open at f/2.8. This is easily corrected in post. I guess Olympus tried to keep this constant f/2.8 zoom as small as possible and that means the image circle only just covers the micro 4/3 sensor.

This lens handles chromatic aberration very well and I see very little sign of fringing even when shooting high contrast scenes. It also handles flare well.

The Olympus 12-40mm is sharp from 12mm all the way through to 40mm even wide open at f/2.8. At 12mm the corner performance is slightly softer than the centre but still way better than something like a Canon 17-40mm L. As mentioned the lens is bitingly sharp in the centre at f/2.8 and performance increases slightly when stopped down to f/4.

While f/2.8 on the Micro 4/3 format does not offer the same shallow depth of field as on 35mm sensors it is still capable of allowing your subject to be isolated from the background as shown in the above portrait. The bokeh from the Olympus 12-40mm f/2.8 at 40mm is enough for portrait work and the rendering is smooth and not overly busy. While it couldn’t be described as creamy it is not nervous and distracting and so works well. If you want a dedicated portrait lens then I suggest that you check out my Olympus 75mm f1.8 review or 45mm 1.8 review

Conclusion

Overall I would rate the Olympus 12-40mm f2.8 as one of the best zooms I have used. It is very well-built and combined with my EM5II or an EM1 series body offers excellent weather-sealing and a very useful focal range.

In terms of image quality sharpness is outstanding throughout the zoom range enabling you to shoot it wide open at f/2.8 without concern. It can do everything from wide-angle landscapes to portraits and it does it all well. Yes other lenses may be better at specific roles but none offer the versatility and fixed bright aperture of this lens.

If you are trying to decide between this lens and the Panasonic 12-35mm (mark i or mark II) then it really comes down to a few factors as optically they are very similar. The Olympus is better at the wide end and offers a little more range at the long end. However the Panasonic is slightly sharper at 35m than the Olympus is at 40mm.

If you are shooting on a Panasonic body then perhaps you might prefer to go with the Panasonic lens to take advantage of Panasonic’s depth from defocus system and in the case of the mark ii lens their dual sync IS. The Panasonic lenses are both lighter than the Olympus.

However having owned all 3 lenses and as an owner of the Panasonic GH5 and Olympus EM5 II I decided that the build quality of the Olympus 12-40mm edged out the Panasonic and so I kept it over its rivals. When I say edged out, it is night and day. The Panasonic’s feel like a consumer grade lens with very good optics. The Olympus 12-40mm feels like a professional grade lens in every way.

During my testing, dual sync IS between the GH5 and 12-35mm ii made no noticeable improvement in the image stabilisation and didn’t allow me to handhold shots for any longer than when using the Olympus 12-40mm f/2.8 on the GH5.

If you are going to own just one lens for Micro 4/3 then this may very well be the best choice. Make sure to check out my Olympus 25mm 1.2 Pro review as well.

I recently bought the OM System OM-3 and would have picked up the little 45mm again, but it looks like OM System are in the process of updating their 1.8 lenses with weather sealing. I’ve already added the new 17mm f/1.8 Mark II to my kit (review coming once I’ve had more time with it) and am holding out for the updated 45mm f/1.8 Mark II before re-purchasing it for use with my OM-3 and OM-1 Mark II. In the mean-time to see more recent OM Systems content take a look at my comprehensive OM-1 review.

Back to the review:

If you are looking for the best value portrait lens in the World then I think I may have the answer for you.

For many years now I have been shooting a variety of cameras and lenses ranging from Micro 4/3 to large format 4×5 film. As I am not rich I like to get the best gear that I can afford that will do the job I need it to do.

With that in mind I have used many different lenses and for portraits I have found that the Olympus 45mm f/1.8 lens offers the best value of any lens for portrait shots. It comes in at around £200 and is as sharp as you need for portraits. In fact it is pretty sharp wide open at f/1.8 and gets a little sharper when stopped down to f/2.8-5.6.

So below I am going to show why I think it offers great value and is basically a must have lens for every Micro 4/3 photographer.

Don’t forget that you can really help me out by buying this lens through the links on this page. I will earn a small commission and it won’t cost you a penny more.

If you are looking for an even better lens for portraits and don’t mind paying a bit more then be sure to check out my Olympus 75mm f/1.8 review here

Olympus 45mm 1.8 – Handling

There is nothing outstanding about the handling of the Olympus 45mm f/1.8. It is made of plastic and doesn’t feel particularly expensive. However it is still a notch above lenses like the Canon 50mm 1.8 (sometimes called the plastic fantastic). It feels decently made but certainly cheaper than other lenses such as the Olympus 75mm f/1.8 or Olympus Pro zooms. However it is perfectly functional and does what it needs to do.

The reason I mention handling is because it is such a small and light lens that you can easily add this to your bag or even in a pocket and not even notice the weight. This makes it a carry everywhere lens for me and if I was to only have a 2 lens setup the little 45mm would almost always be one of the two lenses that I would carry.

Image Quality.

More importantly, the reason why I think this lens offers such great value is because it offers really good image quality for the size and weight. It is sharp wide open and as mentioned before it improves a little when stopped down.

It easily defines eyelashes when shooting portraits which is one of my prerequisites for sharpness in a portrait lens.

It doesn’t suffer with any major flaws in terms of CA or distortion. Therefore for the price you get a very handy high quality lens that doesn’t add much weight to your setup. The only criticism I could level at it is that sometimes the bokeh can get a little nervous so you have to watch your background sometimes. However you should always be doing that anyway.

The f/1.8 aperture allows it to be used in low light and maintain fast enough shutter speeds to get sharp people images and the focal length is my personal favourite for portrait work.

Below are a few images taken with the 45mm f/1.8.

Olympus / OM System 45mm f/1.8 FAQ

Is the OM System 45mm f/1.8 still worth buying?
Yes. Despite its age, the 45mm f/1.8 remains one of the best value portrait lenses available. It offers excellent sharpness, pleasing subject separation, fast autofocus, and a compact size at a very low price point.

What focal length is the 45mm f/1.8 equivalent to?
On Micro Four Thirds, the 45mm f/1.8 is equivalent to a 90mm lens on full frame. This makes it ideal for portraits, headshots, and isolating subjects.

Is the 45mm f/1.8 sharp wide open?
Yes. The lens is already sharp at f/1.8, especially for portrait work, and improves slightly when stopped down to around f/2.8–f/5.6.

Does the OM System 45mm f/1.8 have weather sealing?
No. The original version of the 45mm f/1.8 is not weather sealed. OM System appears to be updating its f/1.8 prime lineup, so a weather-sealed Mark II version is expected.

How does it compare to the Olympus 75mm f/1.8?
The 75mm f/1.8 offers better build quality and more subject isolation, but it is larger, heavier, and significantly more expensive. For most photographers, the 45mm f/1.8 is the more practical and better-value option.

Is the autofocus good enough for portraits and everyday use?
Yes. Autofocus is fast, accurate, and reliable for portraits, family photography, and general use. It performs well even on older Micro Four Thirds bodies.

Is the OM System 45mm f/1.8 good for beginners?
Absolutely. Its low cost, light weight, and excellent image quality make it one of the best first portrait lenses for Micro Four Thirds shooters.

What camera bodies does the 45mm f/1.8 work with?
The lens is compatible with all Micro Four Thirds cameras, including OM System, Olympus, and Panasonic bodies.