Best Lenses for Travel Photography: A Pro’s 2026 Picks

I’ve been a professional travel photographer since 2010, and the gear question I get asked more than almost any other, by readers here and by students on my online travel photography course, is a simple one: which lens should I actually travel with? Usually the person asking has a camera with interchangeable lenses, a mirrorless body or a DSLR, and they want to know what to put on the front of it.

I’ve already written a guide to the best cameras for travel photography, but a camera body isn’t much use on its own. This is the companion guide, and I keep it updated as new lenses come out.

It assumes you have a camera with interchangeable lenses, so a mirrorless camera or a DSLR. Within those two groups there are a lot of different systems, and a lens built for one system generally won’t fit another. I’ve covered the major ones here: Canon (both RF and EF), Sony, Nikon (both Z and F), Fujifilm and Micro Four Thirds. Even if your exact system isn’t listed, the advice on what makes a good travel lens applies whatever you shoot.

 

The best travel lens for most people

For most people, the best lens for travel photography is a 24-105mm f/4 class walkaround zoom: the Canon RF 24-105mm f/4L IS USM, the Sony FE 24-105mm f/4 G OSS, or the Nikkor Z 24-120mm f/4 S, depending on your camera. That range covers wide streets, portraits and distant detail in one lens, the constant f/4 aperture means it doesn’t get slower as you zoom, and the image quality is good enough that you’ll rarely wonder what you missed by not carrying more.

Since people ask, my own travel kit is usually a 16-35mm f/4 and a 70-200mm f/2.8 on my Canon R5. I love the results from that pair, but it’s a lot of glass to carry around all day, and if I were starting again today I’d buy the RF 24-105mm f/4L instead and save my back.

Of course, not everyone is most people. Here’s how I’d route you depending on what matters most:

What matters most to you	What to get	My pick of the type
All-round quality from one lens	A 24-105mm f/4 class zoom	Nikkor Z 24-120mm f/4 S
Never missing a distant shot	A superzoom (200mm equivalent or more)	Nikkor Z 24-200mm f/4-6.3 VR
Low light and evenings	A small fast prime, alongside a zoom	Canon RF 35mm f/1.8 IS Macro STM
The lightest possible kit	A pancake prime	Fujifilm XF 27mm f/2.8 R WR (84g)

Each of those links jumps to the full write-up below, and every camera system I cover has an equivalent, so you’re not stuck if you shoot a different brand. And if you’re still weighing up how many lenses to bring in the first place, that’s the question I’d settle before spending anything, so let’s start there.

 

One lens, two lenses, or a bag of primes?

Before any specific recommendation, this is the question worth settling, because it shapes everything else. When you travel, the lens you own matters far less than the lens you actually carry. The best lens in the world does nothing for you if it’s back in the hotel room because it was too heavy or felt like too much hassle to bring.

So here is what I’ve learned from packing a camera bag for trips for the better part of two decades.

For most travellers, one good walkaround zoom is all you need. A walkaround lens is one that does a bit of everything: it covers a useful spread of focal lengths, so you can frame a wide street scene and then zoom in on a carved doorway without swapping anything. You stop thinking about gear and start taking photos. If you buy just one lens from this guide, make it the walkaround zoom for your system.

The argument for a second lens is about the shots a walkaround zoom finds hard. Those zooms trade a little light-gathering ability for their range, so when the sun goes down, when you’re inside a dim church, or when you want a portrait with a soft, blurred background, a fast prime is really worth having. A prime is a lens with a single focal length and no zoom at all. Because the design is simpler, primes tend to be small, light, sharp, and much better in low light than a zoom. The trade-off is that you zoom with your feet, and you change lenses more often.

A few lenses also push their range well past 200mm, into superzoom territory. These are wonderful for the freedom of never missing a distant shot, a market trader across the square or a bird on a rooftop, but be honest with yourself about the cost. Long superzooms are heavier, and image quality usually softens at the far end of the zoom. If you mostly share photos online you will never notice. If you make big prints, you might.

To put it in terms of how people actually travel: if you pack carry-on only and want to forget about gear, take one walkaround zoom and nothing else. If you’re a keen hobbyist who likes shooting in the evening, add a small fast prime, that pairing handles almost everything. If you shoot professionally or you’re chasing the best possible image quality, the constant-aperture zooms and the brand primes are where to look, and you’ll probably carry two or three lenses regardless of what I say. There’s no wrong answer here, only the kit you’ll actually want to carry all day.

 

What’s changed in travel lenses for 2026

I review this guide regularly, and my core advice hasn’t moved: a good walkaround zoom is still the right travel companion for most photographers. The lens market itself has moved on in a few ways that matter if you’re buying in 2026 though.

The biggest change is the third-party superzoom surge. Sigma released the Sigma 16-300mm f/3.5-6.7 DC OS Contemporary in 2025, an 18.8x zoom for APS-C mirrorless cameras covering a 24-450mm equivalent range, which is a range that would have sounded like a misprint a few years ago. It comes in Sony E, Fujifilm X, Canon RF and L-Mount versions, though notably not Nikon Z. Tamron’s 18-300mm f/3.5-6.3 Di III-A VC VXD has been a Sony and Fujifilm option for a few years, and in 2025 it arrived for Nikon Z and Canon RF as well. If reach is your priority, APS-C shooters have more choice than ever.

Nikon has a full-frame answer of its own in the Nikkor Z 28-400mm f/4-8 VR, released in 2024. At 725g it’s impressively light for a 14.2x zoom, though the f/8 long end means it really wants good light.

So why aren’t these my top picks? The physics haven’t changed. The further a zoom stretches, the more image quality and aperture it gives up at the long end. These lenses are the right buy for a reach-first traveller, a safari say, or anyone who spends their trips photographing wildlife. For everyday travel, the shorter zooms below produce better images at the focal lengths you’ll actually use most of the time.

The other shifts are quieter. Canon and Nikon’s APS-C mirrorless lens ranges (RF-S and Z DX) have matured into proper systems rather than afterthoughts. And on the DSLR side, Canon has now ended EF lens production entirely, while Nikon still sells a couple of F-mount favourites new. I’ve updated the DSLR sections below to reflect all this, because the buying advice has changed a bit.

 

The best travel lenses at a glance

Here is every lens I recommend below, grouped by camera system, with the numbers that matter most for travel: how much range you get, how fast the lens is, and how much it weighs. Find your camera system, then read the full write-up further down for the detail.

Lens	Focal length (full-frame equivalent)	Max aperture	Weight	Stabilised	Price tier
Canon RF (mirrorless)
Canon RF 24-105mm f/4L IS USM	24-105mm	f/4	700 g	Yes	Premium
Canon RF 24-105mm f/4-7.1 IS STM	24-105mm	f/4-7.1	395 g	Yes	Mid-range
Canon RF 24-240mm f/4-6.3 IS USM	24-240mm	f/4-6.3	750 g	Yes	Mid-range
Canon RF-S 18-150mm f/3.5-6.3 IS STM	29-240mm	f/3.5-6.3	310 g	Yes	Mid-range
Canon RF 35mm f/1.8 IS Macro STM	35mm	f/1.8	305 g	Yes	Mid-range
Sony E-mount (mirrorless)
Sony FE 24-105mm f/4 G OSS	24-105mm	f/4	663 g	Yes	Premium
Sony FE 20-70mm f/4 G	20-70mm	f/4	488 g	Body IBIS	Premium
Sony FE 24-240mm f/3.5-6.3 OSS	24-240mm	f/3.5-6.3	780 g	Yes	Mid-range
Sony E 18-135mm f/3.5-5.6 OSS	27-202mm	f/3.5-5.6	325 g	Yes	Mid-range
Sony FE 40mm f/2.5 G	40mm	f/2.5	173 g	Body IBIS	Mid-range
Nikon Z (mirrorless)
Nikkor Z 24-120mm f/4 S	24-120mm	f/4	630 g	Body IBIS	Premium
Nikkor Z 24-200mm f/4-6.3 VR	24-200mm	f/4-6.3	570 g	Yes	Mid-range
Nikkor Z DX 18-140mm f/3.5-6.3 VR	27-210mm	f/3.5-6.3	315 g	Yes	Mid-range
Nikkor Z 40mm f/2	40mm	f/2	167 g	Body IBIS	Budget
Fujifilm X (mirrorless)
Fujifilm XF 16-80mm f/4 R OIS WR	24-122mm	f/4	440 g	Yes	Mid-range
Fujifilm XF 18-135mm f/3.5-5.6 R LM OIS WR	27-206mm	f/3.5-5.6	490 g	Yes	Mid-range
Fujifilm XF 27mm f/2.8 R WR	41mm	f/2.8	84 g	Body IBIS	Budget
Micro Four Thirds (mirrorless)
OM System M.Zuiko 12-100mm f/4 IS PRO	24-200mm	f/4	561 g	Yes	Premium
Panasonic Leica DG 12-60mm f/2.8-4	24-120mm	f/2.8-4	320 g	Yes	Mid-range
OM System M.Zuiko 14-150mm f/4-5.6 II	28-300mm	f/4-5.6	285 g	Body IBIS	Budget
Panasonic Lumix G Vario 12-60mm f/3.5-5.6	24-120mm	f/3.5-5.6	210 g	Yes	Budget
Panasonic Lumix G 20mm f/1.7 II	40mm	f/1.7	87 g	Body IBIS	Budget
Canon EF (DSLR)
Canon EF 24-105mm f/4L IS II USM	24-105mm	f/4	795 g	Yes	Mid-range (used)
Canon EF-S 18-135mm f/3.5-5.6 IS USM	29-216mm	f/3.5-5.6	515 g	Yes	Budget (used)
Tamron 28-300mm f/3.5-6.3 Di VC PZD	28-300mm	f/3.5-6.3	540 g	Yes	Budget (used)
Nikon F (DSLR)
Nikon AF-S 24-120mm f/4G ED VR	24-120mm	f/4	710 g	Yes	Mid-range
Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR	27-210mm	f/3.5-5.6	490 g	Yes	Budget
Nikon AF-S 28-300mm f/3.5-5.6G ED VR	28-300mm	f/3.5-5.6	800 g	Yes	Mid-range (used)

 

What to think about when picking a travel lens

Picking a lens to travel with is a bit different to picking a lens for other situations. Image quality matters, of course, but so do size and weight.

It would be wonderful to have a wide range of expensive lenses to take on every trip, but the reality of travel is that there’s only so much you can carry, and when you’re out sightseeing all day, you don’t want to be weighed down. So for travel it’s better to focus on a smaller number of lenses that work well across a wide variety of situations. That way you’re far more likely to actually take them with you and use them.

There are always compromises. It’s hard to find a lens that does everything well, doesn’t cost too much, and is light. But there are some very good travel lens options out there, and the rest of this section explains the terminology and features to weigh up so you can read a spec sheet with confidence.

 

Price considerations

I’ve done my best to provide a range of lenses across various price points. More expensive lenses tend to be more capable, but they can also be heavier, so they aren’t always the best solution for travel photography. Weight is just one of the challenges of travel photography we have learned to work around. For the budget-conscious, most systems below include a cheaper option that still does the job well.

If none of the lenses here fit your budget, my advice is to either stick with the kit lens that came with your camera, or to look at the second-hand market on Amazon or eBay. For more on that, see my guide to buying used camera equipment. Some of the strongest value in lenses today is on the used market.

 

Aperture

Inside a lens there’s a hole that lets light through to the camera’s sensor. This hole is the aperture. It can change in size, with a bigger aperture letting more light in and a smaller aperture letting less light in. An aperture works a lot like the pupil of your eye: in bright conditions it’s small, and in a dark environment it opens wide to gather more light.

The important number is how wide the aperture goes, because that dictates how the lens performs in low light. A wider aperture also gives you more control over depth of field. See my guide to depth of field for more on that.

In a lens’s specifications the widest aperture is always listed as a key number. It will be something like 2.8, 4.0 or 5.6, often written as f/2.8. The smaller the number, the wider the hole. Some lenses, and in particular the walkaround zooms we’re looking at here, have a variable maximum aperture. This means the aperture changes as you zoom. You might see a lens listed as f/3.5-5.6, which means it opens to f/3.5 at the wide end but only to f/5.6 once you’ve zoomed all the way in.

For travel photography, as with most photography, a wider aperture is better. More light getting in means better low-light performance and a more versatile lens, which helps with situations like taking photos of the stars or shooting the northern lights. The trade-off is that wider aperture lenses tend to be bigger, heavier and more expensive.

 

Focal length

The focal length of a lens is directly related to how much magnification it gives you. It’s measured in millimetres, and the general rule is that a higher number means more magnification, and a lower number means less. If you’ve used a compact camera, you’ll know this as optical zoom. Each doubling of the focal length doubles the magnification, so a 100mm lens makes everything roughly twice as big as a 50mm lens.

Matters get slightly confusing after that, because the same focal length behaves differently on different cameras. This is down to sensor size, and the effect is known as a crop factor. Take Canon’s DSLRs as an example. There are APS-C cameras with a smaller sensor, and full-frame cameras with a larger one. The same lens gives a different field of view on each. On an APS-C sensor there’s a crop factor of 1.6, so a 100mm lens behaves like a 160mm lens would on full frame.

Thankfully, lens manufacturers all use the same focal length standard, so once you know your camera’s crop factor you can multiply it by the focal length to get the equivalent focal length. Micro Four Thirds cameras have a 2x crop factor, Canon’s APS-C cameras 1.6x, and the APS-C cameras from Sony, Nikon and Fujifilm 1.5x. Don’t worry if this isn’t quite clear yet, because for every lens below I list both the native focal length and the full-frame equivalent. The equivalent is the number to compare lenses by.

For travel you want a lens that runs from fairly wide (around 16mm to 30mm equivalent) at one end through to fairly zoomed in (around 70mm to 150mm equivalent) at the other. That gives you the flexibility to shoot a wide street or building and then pick out the details. Some walkaround lenses go much further, well past 200mm. They offer tremendous versatility, but there are always trade-offs, usually in weight and in image sharpness at the long end. There’s no such thing as a perfect lens for every situation.

 

Filter thread

When you buy a lens it’s a good idea to pick up a UV filter to protect the front element. You may also want a polarising filter (read about polarising filters here) or a neutral density filter (see my guide to neutral density filters here).

Filters come in different sizes, and the filter thread on the lens, measured in millimetres, tells you which size you need. It’s simply the diameter of the front of the lens. If you own more than one lens, it’s worth checking the threads, because lenses that share a filter size let you share filters between them.

 

Image stabilisation

Camera and lens manufacturers all have their own terms for image stabilisation. These include IS (Canon), OIS (Panasonic and Fujifilm), VR (Nikon), OSS (Sony), OS (Sigma) and VC (Tamron). The list goes on. The names and the underlying technology vary, but the aim is the same: to compensate for the small movements introduced by your hands, so you can shoot at slower shutter speeds without blur.

As a rule of thumb, the slowest shutter speed you can reliably hand-hold is roughly the inverse of the focal length. So with a 200mm lens you’d want to stay at 1/200th of a second or faster, and with a 50mm lens, 1/50th. Image stabilisation lets you go slower than that, and it’s rated in stops, where a stop is a halving or doubling of light. Modern stabilisation systems offer around five stops, and often more. In practice that’s the difference between needing 1/200th of a second and getting a sharp hand-held shot at well under 1/25th.

One thing has changed in recent years. A lot of mirrorless lenses now skip in-lens stabilisation altogether and rely on stabilisation built into the camera body instead, known as IBIS, or in-body image stabilisation. Both approaches work well, and some cameras combine the two. So don’t discount a lens just because it doesn’t list its own stabilisation. Where a lens below relies on body IBIS rather than its own system, I’ve said so.

 

Weight

Weight is a key consideration for a travel lens, because the whole point is that you’re going to be carrying this thing around while you travel. I don’t know about you, but the less I have to carry the better, especially when I’m on my feet all day. Keep the weight of your purchase firmly in mind.

 

Size

Alongside weight, factor in the physical size of the lens. Portability matters for travel, particularly if you like to pack carry-on only. A lens that’s light but long and bulky still eats space in your bag, so the physical size matters as much as the weight.

 

Mount compatibility

When you attach a lens to a camera, it obviously has to fit. The lens has to be the right shape to lock into place, and because the camera and lens need to communicate to control focus, aperture and zoom, the electronic connections have to line up too. The system used for this is called a lens mount.

Most camera manufacturers have their own mount, and some have several. Canon cameras, for example, use an EF-S mount, an EF mount or an RF mount (there was also an EF-M mount, now discontinued). When you buy a lens you need to make sure it’s compatible with your camera’s mount. Some lenses cross over: an EF lens works on both EF and EF-S camera bodies, but an EF-S lens only works on EF-S bodies. The mount type is usually right there in the name of the lens, so a lens with “EF” in its name is an EF lens.

If you buy from a third-party manufacturer such as Tamron or Sigma, be aware that they make several versions of each lens with different mounts, so always buy the version that fits your camera.

 

How I chose these lenses

A quick note on where these picks come from. I’ve been a professional travel photographer since 2010, and in that time I’ve shot with all seven of the camera systems covered here. Canon RF is my daily working system, and Micro Four Thirds was part of our own travel kit for years. The lenses below are the ones I’d actually pack, or recommend to a friend who shoots that system.

For each system I’ve weighted versatility, weight and price over outright optical perfection, because a travel lens gets judged on different terms to a studio lens. The sharpest lens you own takes precisely zero photos from the hotel room. I’ve also checked every recommendation against current availability as of July 2026, and where a lens is now a used-market buy, I’ve said so.

With the terminology covered, let’s get into specific recommendations across the major camera systems. These are primarily walkaround lenses suited to travel, rather than specialist lenses for a single purpose like macro or astrophotography.

 

The best Canon RF lenses for travel photography

RF is Canon’s mirrorless mount, launched in 2018, and it’s now the system most new Canon buyers are on. It’s used on full-frame bodies like the R5 and R6, and on APS-C bodies like the R7 and R10. I shoot a Canon R5 myself, so this is the system I know best from daily use. Canon also makes an RF mount adaptor, which lets you fit older EF and EF-S lenses onto an RF camera, so don’t feel locked out of the EF lenses further down this guide.

 

1. Canon RF 24-105mm f/4L IS USM

This is the RF walkaround lens I’d point most full-frame Canon owners to first. It’s part of Canon’s premium L series, and it covers the classic 24-105mm range with a constant f/4 aperture, so the lens doesn’t get slower as you zoom in. You get sharp results, fast and quiet autofocus, and image stabilisation, in a lens that stays a sensible size for travel.

At 700g it isn’t the lightest option here, and the constant f/4 aperture is a big part of why. If you want the quality and consistency of an L-series zoom and don’t mind the weight, this is the one to get.

Check prices at Amazon and B&H.

 

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

If the L-series zoom above is more lens than you want to carry or to pay for, this is the lighter, more affordable alternative, and for a lot of travellers it’s actually the smarter call. It covers the same 24-105mm range and adds image stabilisation, but at 395g it’s barely more than half the weight of the f/4L.

The compromise is the aperture. It opens to f/4 at the wide end but drops to f/7.1 once zoomed in, so it gathers less light than the L lens, especially indoors. Modern Canon bodies handle higher ISO well enough that most travellers won’t mind. If you want the lightest possible full-frame walkaround zoom, this is it.

Check prices at Amazon and B&H.

 

3. Canon RF 24-240mm f/4-6.3 IS USM

For travellers who want one lens that reaches everything, this is Canon’s RF superzoom. The 24-240mm range takes you from wide street scenes right out to distant detail, all without changing lenses, and at 750g it stays manageable for a lens with this much reach. You get image stabilisation and Canon’s fast, quiet autofocus.

As with any superzoom, the long end is a little softer than a shorter lens would be, and the variable aperture means it isn’t a low-light champion. But for sheer convenience on a trip where you don’t want to think about gear, few lenses come close.

Check prices at Amazon and B&H.

 

4. Canon RF-S 18-150mm f/3.5-6.3 IS STM (for APS-C bodies)

If you shoot a Canon APS-C mirrorless body such as the R7, R10 or R50, this is the walkaround lens to look at. RF-S lenses use the same mount as RF lenses, but they’re designed for the smaller APS-C sensor, which keeps them compact and light. This one weighs just 310g.

On an APS-C body the 18-150mm range works out to roughly 29-240mm in full-frame terms, which is an excellent all-round travel spread. You get built-in image stabilisation too. It’s a versatile lens that won’t weigh down a small camera.

Check prices at Amazon and B&H.

 

5. Canon RF 35mm f/1.8 IS Macro STM (the fast prime)

This is the prime I’d add to a Canon RF kit. At 35mm it’s a natural focal length for travel, wide enough for streets and interiors but not so wide that everything looks distorted, and the fast f/1.8 aperture makes it a different animal in low light to any of the zooms above. It’s also small and light at 305g.

It has a useful trick: it focuses close enough to count as a macro lens, so you can use it for food, market detail and small objects as well as general shooting. If you carry a walkaround zoom and want one lens to handle dim evenings and tighter detail work, this is a great companion.

Check prices at Amazon and B&H.

 

The best Sony lenses for travel photography

This section covers Sony’s E-mount lenses, which fit their mirrorless cameras. Two things to keep in mind. First, “FE” lenses work on both full-frame bodies like the a7 range and APS-C bodies like the a6700, while non-FE E-mount lenses are designed for APS-C only. Second, Sony’s “G” series lenses are their higher-end line, similar in spirit to Canon’s L series. Sony’s lens stabilisation is called OSS, and most current Sony bodies also have stabilisation built into the camera.

 

1. Sony FE 24-105mm f/4 G OSS

This is the walkaround lens most full-frame Sony owners settle on, and for good reason. It covers the hugely useful 24-105mm range with a constant f/4 aperture, it’s a G-series lens so image quality is excellent across the frame, and it includes OSS stabilisation. At 663g it’s a fair weight, but it’s a lens you can quite happily leave on the camera for an entire trip.

Check prices at Amazon and B&H.

 

2. Sony FE 20-70mm f/4 G

If you find yourself shooting wide more than you shoot long, this is the more interesting choice. It’s a newer G-series zoom that starts at a wide 20mm, which is wonderful for architecture, tight interiors and dramatic landscapes, and runs to a useful 70mm. At 488g it’s noticeably lighter than the 24-105mm too.

It has no in-lens stabilisation, relying instead on your camera body’s IBIS, so it pairs best with a recent Sony body. For travellers who love a wide perspective, the extra width at the short end is worth more than the extra reach the 24-105mm gives at the long end.

Check prices at Amazon and B&H.

 

3. Sony FE 24-240mm f/3.5-6.3 OSS

This is the Sony full-frame superzoom, and it’s the one-lens answer for the traveller who never wants to miss a shot. The 24-240mm range covers nearly everything, from wide scenes to distant wildlife and detail, and Sony’s cameras handle the variable aperture well thanks to their strong high-ISO performance.

At 780g it’s the heaviest lens in this Sony selection, which is the price of all that reach, and image quality softens a little at the very long end. For the freedom of carrying a single lens, plenty of travellers happily accept that.

Check prices at Amazon and B&H.

 

4. Sony E 18-135mm f/3.5-5.6 OSS (for APS-C bodies)

If you shoot a Sony APS-C camera, this is the walkaround lens to get. The 18-135mm range works out to roughly 27-202mm in full-frame terms, which is an excellent spread for travel, and it includes OSS stabilisation. At 325g it’s light, and it’s well priced, so it’s an easy and worthwhile upgrade from the kit lens that came with your camera.

Check prices at Amazon and B&H.

 

5. Sony FE 40mm f/2.5 G (the fast prime)

This is the prime I’d pair with a Sony walkaround zoom. It’s tiny and weighs just 173g, so it adds almost nothing to your bag, yet it’s a G-series lens with lovely image quality and a fast f/2.5 aperture for low light and softly blurred backgrounds. The 40mm focal length is a versatile, natural-looking length for travel, good for street scenes, people and details alike.

It relies on body IBIS rather than its own stabilisation. On any recent Sony body that’s a non-issue.

Check prices at Amazon and B&H.

 

The best Nikon Z lenses for travel photography

Z is Nikon’s mirrorless mount, and it’s where Nikon has put its energy in recent years. It’s used on full-frame bodies like the Z6 and Z7 lines, and on APS-C bodies (Nikon calls APS-C “DX”) like the Z50 and Z fc. Nikon’s stabilisation is called VR, and modern Z bodies also have in-body stabilisation, so some Z lenses leave VR out and rely on the camera instead.

 

1. Nikkor Z 24-120mm f/4 S

This is the walkaround lens I’d recommend to most full-frame Nikon Z owners. It’s an S-line lens, Nikon’s higher-end designation, and it covers a slightly longer 24-120mm range than the usual 24-105mm, with a constant f/4 aperture and excellent sharpness across the frame. At 630g it’s a reasonable weight for what it does.

It has no in-lens VR, relying on the body’s IBIS, so it suits any current Z camera well. If you want one high-quality lens to leave on a full-frame Z body, this is the obvious pick.

Check prices at Amazon and B&H.

 

2. Nikkor Z 24-200mm f/4-6.3 VR

This is Nikon’s Z superzoom, and it’s a particularly good one. The 24-200mm range handles almost any travel situation in a single lens, and at 570g it’s impressively light for the reach on offer, lighter, in fact, than the 24-120mm above. It includes VR stabilisation.

The aperture is variable and the long end is a touch softer than a dedicated telephoto, the usual superzoom trade-offs, but the combination of range and low weight makes this one of the best one-lens travel options of any system.

Check prices at Amazon and B&H.

 

3. Nikkor Z DX 18-140mm f/3.5-6.3 VR (for DX bodies)

If you shoot a Nikon Z DX (APS-C) camera, this is the walkaround lens for you. The 18-140mm range works out to around 27-210mm in full-frame terms, a great all-round travel spread, and it includes VR stabilisation. At 315g it’s light and keeps a small Z DX body nicely balanced.

Check prices at Amazon and B&H.

 

4. Nikkor Z 40mm f/2 (the fast prime)

This is the prime to add to a Nikon Z kit, and it’s remarkably good value. At 167g it’s tiny, and the fast f/2 aperture makes it far better in low light than any of the zooms here, as well as giving you that soft background blur for portraits and detail shots. The 40mm focal length is an easy, natural length to shoot with while travelling.

It relies on body IBIS rather than its own stabilisation. If you want one inexpensive lens to handle evenings and people shots alongside a walkaround zoom, this is it.

Check prices at Amazon and B&H.

 

The best Fujifilm X lenses for travel photography

Fujifilm’s X-mount cameras use an APS-C sensor, and the system is popular with travellers because the bodies and lenses are compact and the cameras are a pleasure to shoot with. X-mount cameras have a 1.5x crop factor. Fujifilm’s lens stabilisation is called OIS, and recent X bodies also have in-body stabilisation.

 

1. Fujifilm XF 16-80mm f/4 R OIS WR

This is the Fujifilm walkaround lens I’d recommend first. The 16-80mm range works out to around 24-122mm in full-frame terms, the classic walkaround spread, and it has a constant f/4 aperture so it doesn’t slow down as you zoom. It includes OIS stabilisation and weather resistance (the “WR” in the name), and at 440g it stays light. It’s a natural match for almost any X-series body.

Check prices at Amazon and B&H.

 

2. Fujifilm XF 18-135mm f/3.5-5.6 R LM OIS WR

If you want more reach in one lens, this is the Fujifilm choice. The 18-135mm range is roughly 27-206mm in full-frame terms, enough to cover wide scenes and distant detail without a lens change. It’s weather resistant, has effective OIS stabilisation, and at 490g it’s still very travel-friendly for a lens with this much range.

The variable aperture makes it a little slower in low light than the 16-80mm, but for a do-everything travel lens on an X-series camera it’s an excellent option.

Check prices at Amazon and B&H.

 

3. Fujifilm XF 27mm f/2.8 R WR (the fast prime)

This is the prime that turns a Fujifilm camera into a pocketable travel setup. It’s a pancake lens, just 84g, so it’s barely larger than a body cap, yet it gives you a fast f/2.8 aperture and lovely image quality. At 27mm it’s around 41mm full-frame equivalent, a natural everyday focal length for street and travel photography.

It relies on body stabilisation rather than its own. If you want the smallest, lightest possible Fujifilm kit, a body and this lens is a wonderful way to travel.

Check prices at Amazon and B&H.

 

The best Micro Four Thirds lenses for travel photography

Micro Four Thirds is a mirrorless system shared by Panasonic and OM System (formerly Olympus). The sensor is smaller than APS-C, which is what allows the cameras and lenses to be so compact, and the system has long been a favourite with travellers who want to keep their kit small. Micro Four Thirds was part of our own travel kit for years, when we travelled with a Panasonic GX8, so I have a soft spot for how light it lets you pack.

One quirk to know: both manufacturers have their own stabilisation, and to get the very best results you ideally match the brand of lens to the brand of body. The cameras have a 2x crop factor, so you double the focal length to get the full-frame equivalent.

 

1. OM System M.Zuiko 12-100mm f/4 IS PRO

If you want the best single travel lens for Micro Four Thirds, this is it. The 12-100mm range is a 24-200mm full-frame equivalent, which is just about the perfect walkaround spread, and it has a constant f/4 aperture throughout. It’s weather sealed, and its stabilisation is remarkable: the lens is rated to around 5 stops on its own, and OM System’s 5-axis Sync IS pairs it with the camera’s in-body stabilisation for even steadier handheld shots.

At 561g it’s the heaviest lens in this Micro Four Thirds selection, but in absolute terms that’s still light for a lens covering this much range at a constant aperture. It’s the lens I’d build a Micro Four Thirds travel kit around.

Check prices at Amazon and B&H.

 

2. Panasonic Leica DG 12-60mm f/2.8-4

This is the walkaround lens to look at if you shoot a Panasonic body. The 12-60mm range is a 24-120mm full-frame equivalent, and it’s sharp throughout, even wide open. The f/2.8-4 aperture is faster at the wide end than most walkaround zooms, it includes Power OIS stabilisation, and at 320g it’s light. It’s a lens that quietly does almost everything you’d want on a trip.

Check prices at Amazon and B&H.

 

3. OM System M.Zuiko 14-150mm f/4-5.6 II

For more reach in one lens, this is the Micro Four Thirds superzoom to consider. The 14-150mm range is a 28-300mm full-frame equivalent, so it covers nearly everything you could want, and it’s weather sealed with a good reputation for sharpness. The variable aperture makes it a touch slower than the lenses above, but that’s what keeps it light at just 285g.

It has no in-lens stabilisation and relies on the body’s IBIS, which OM System bodies do very well. For a travel lens that goes wide to long without a lens change, it’s a bargain.

Check prices at Amazon and B&H.

 

4. Panasonic Lumix G Vario 12-60mm f/3.5-5.6 (budget pick)

This is essentially a slower, more affordable version of the Panasonic Leica 12-60mm above, at a fraction of the price and lighter too, at just 210g. For a lens this cheap it’s impressively well specified: it has image stabilisation and a splash and dust resistant body, which makes it a pretty good travel lens. If you want a capable Micro Four Thirds walkaround zoom without spending much, start here.

Check prices at Amazon and B&H.

 

5. Panasonic Lumix G 20mm f/1.7 II (the fast prime)

This little pancake lens is the prime to add to a Micro Four Thirds kit. At just 87g it’s almost weightless, and the fast f/1.7 aperture makes it excellent in low light and lovely for portraits and detail with a softly blurred background. At 20mm it’s a 40mm full-frame equivalent, a versatile everyday focal length.

It has no in-lens stabilisation, so it leans on body IBIS, which most modern Micro Four Thirds bodies have. As a tiny, fast companion to a walkaround zoom, nothing really touches it for the money.

Check prices at Amazon.

 

The best Canon EF lenses for travel photography (DSLR)

EF is Canon’s long-running DSLR mount, and if you shoot a Canon DSLR there’s still an enormous range of EF lenses to choose from. One thing has changed though: Canon has now ended EF and EF-S lens production, so the lenses below are bought as remaining new stock at third-party retailers, or used. For travellers on a budget that’s actually good news, because the used EF market is one of the best places to find a real bargain right now, with so many photographers having moved to mirrorless. I still use EF lenses on my own RF body via the adaptor, so they’re far from obsolete.

 

1. Canon EF 24-105mm f/4L IS II USM

This is the EF walkaround lens I’d point full-frame Canon DSLR owners to. It’s an L-series lens with a constant f/4 aperture across the 24-105mm range, it’s sharp, and it has image stabilisation. On an APS-C Canon DSLR it gives an equivalent of roughly 38-168mm, which still works well for travel. At 795g it’s a substantial lens, but it’s a proven, do-everything choice. Canon has discontinued it, so a used copy is where the value is; remaining new stock tends to be priced optimistically.

Check prices at Amazon and B&H.

 

2. Canon EF-S 18-135mm f/3.5-5.6 IS USM (for APS-C DSLRs)

If you shoot a Canon APS-C DSLR, such as one of the Rebel models, this is the walkaround lens to look at. It’s an EF-S lens, designed for APS-C bodies, and the 18-135mm range works out to around 29-216mm full-frame equivalent, a strong all-round travel spread.

The “USM” version uses Canon’s Nano USM focus motor, which is fast and quiet, and the lens has image stabilisation. At 515g it’s a comfortable weight, and used copies are well priced, so it’s an easy step up from a kit lens. Like the rest of Canon’s EF-S line it’s discontinued, so buy it used or as remaining new stock while that lasts.

Check prices at Amazon and B&H.

 

3. Tamron 28-300mm f/3.5-6.3 Di VC PZD (the superzoom)

For a single lens that reaches everything on a full-frame Canon DSLR, this Tamron is a long-standing favourite with value-minded travellers. The 28-300mm range covers wide scenes through to distant detail, it has Tamron’s VC stabilisation, and at 540g it’s relatively light for a superzoom.

One thing to know before you go looking: Tamron no longer makes this lens new, so it’s a used-market buy now. That isn’t a bad thing. It keeps the price low, and a used superzoom like this is a lot of versatility for the money.

Check prices at Amazon.

 

The best Nikon F lenses for travel photography (DSLR)

F is Nikon’s DSLR mount, and like Canon’s EF mount it has a vast back catalogue of lenses. Nikon has wound down its F-mount range as it focuses on the Z system, but unlike Canon it hasn’t stopped entirely: two of the three lenses below are still sold brand new by Nikon in 2026. The used Nikon F market is also full of capable travel lenses at prices that have come down a long way, so you can go either way on value. Nikon’s DSLR stabilisation is called VR.

 

1. Nikon AF-S 24-120mm f/4G ED VR

This is the walkaround lens I’d look for on a full-frame Nikon DSLR (Nikon calls full frame “FX”). It covers a useful 24-120mm range with a constant f/4 aperture, it’s sharp enough to use all day, and it has VR stabilisation.

At 710g it’s a fair weight, but as a one-lens travel solution for an FX DSLR it’s a sensible, well-rounded choice. Nikon still sells it brand new, which tells you how well the design has held up, and used copies cost quite a bit less again.

Check prices at Amazon and B&H.

 

2. Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR (for DX DSLRs)

For a Nikon APS-C DSLR (a DX body), this is the walkaround lens to find. It covers a wide focal range, works out to roughly 27-210mm in full-frame terms, and produces sharp images with VR stabilisation built in.

At 490g it’s relatively light, and it’s another lens Nikon still sells new, with used copies going for well under that price. It will serve you well as an all-day travel lens.

Check prices at Amazon and B&H.

 

3. Nikon AF-S 28-300mm f/3.5-5.6G ED VR (the superzoom)

If you want one lens that does everything on a full-frame Nikon DSLR, this is the F-mount superzoom. The 28-300mm range covers wide scenes right out to distant subjects, and it has VR stabilisation. At 800g it’s the heaviest lens in this Nikon selection, which is the cost of that reach, and as with any superzoom the long end softens a little.

Nikon has discontinued this lens, so it’s a used-market buy. For the convenience of never changing a lens on a trip, a used copy is really good value.

Check prices at Amazon.

 

Travel lens mistakes worth avoiding

I’ve answered a lot of lens questions in the comments over the years, and the same handful of buying mistakes come up again and again. Here’s how to sidestep them.

 

Paying for reach you won’t use

A 300mm or 400mm long end sounds tempting until you look at how often you’d actually use it. Most travel photography happens between about 24mm and 105mm equivalent: streets, buildings, people, food, landscapes. If you photograph wildlife or you’re heading on safari, buy the superzoom with my blessing. If you’re not, you’re paying in money, weight and image quality for focal lengths that will mostly go unused.

 

Upgrading the camera when the lens is the limit

If your photos aren’t coming out the way you want, the reflex is to blame the camera body. In my experience the lens is more often the limiting factor, and a better lens usually improves your images more than a newer body at the same price. It also outlasts several bodies, so the money works harder. Unless your camera has a specific problem you can name, like autofocus that can’t keep up, put the budget into glass first.

 

Ignoring the weight maths

The spec sheet number that matters most for travel is the weight, and it’s the one people discount when they’re excited about a purchase. A few hundred grams feels like nothing in a shop. After six hours of sightseeing it feels like a lot more, believe me! And the lens that’s too heavy ends up back in the hotel room, taking no photos at all. Before buying, add up what your full kit would weigh, and be a bit ruthless about it.

 

Buying the wrong mount version

Third-party manufacturers like Sigma and Tamron sell the same lens in several different mounts, and the listings look nearly identical. Check the mount version carefully before you order, and check it exists at all for your system: the new Sigma 16-300mm, for example, isn’t made in Nikon Z mount. If you shoot Canon APS-C, also make sure you’re buying RF-S rather than the older EF-M, which is discontinued and fits nothing current.

 

Frequently asked questions

 

What is the best all-round lens for travel photography?

For most travellers, the best all-round lens is a walkaround zoom that covers roughly 24mm to 105mm in full-frame terms. That range is wide enough for streets, buildings and landscapes, and long enough to pick out detail, so you can shoot most of a trip without changing lenses.

If you want even more reach in a single lens, a superzoom that runs to 200mm or beyond gives you that, at the cost of some extra weight and slightly softer results at the long end. Pick the walkaround zoom built for your camera system from the relevant section above.

 

Is one lens enough for travel, or do I need two?

One good walkaround zoom is enough for most travellers, and there’s a lot to be said for the simplicity of never thinking about which lens to use.

A second lens starts to pay off if you regularly shoot in low light or want portraits with a soft, blurred background. In that case, add a small fast prime to your walkaround zoom. That two-lens kit handles almost any situation without becoming a burden to carry.

 

Should I choose a prime or a zoom lens for travel?

For a single travel lens, a zoom is the more practical choice, because the flexibility of changing focal length without changing lenses matters a lot when you’re moving through a place.

Primes have a single focal length and no zoom, but they’re usually smaller, lighter and much better in low light. The ideal travel kit for a keen photographer is often both: a zoom as the everyday lens, and one fast prime for evenings, interiors and portraits.

 

What focal length is best for travel photography?

A range of roughly 24mm to 105mm in full-frame equivalent terms covers the great majority of travel photography. The wide end handles streets, interiors and landscapes, and the longer end lets you isolate details and distant subjects.

If you love wide, dramatic shots, look for a lens that starts nearer 16mm to 20mm. If you want to reach distant subjects, a superzoom going to 200mm or more is worth the extra weight.

 

Is it better to spend money on a new lens or a new camera body?

If your budget only stretches to one upgrade, a better lens usually makes more difference to your photos than a newer body. A good lens improves sharpness, low-light performance and the look of your images, and it will outlast several camera bodies.

The exception is if your current camera is clearly holding you back, for example with poor autofocus or weak high-ISO performance. In that case, fix the body first. If you’re not sure your camera is the limitation, put the money into glass.

 

Are DSLR lenses still worth buying in 2026?

Yes, though the answer now depends on your brand. Canon has ended EF and EF-S lens production, so Canon DSLR lenses are a used or remaining-stock buy. Nikon still sells some F-mount lenses brand new, including the AF-S 24-120mm f/4G and DX 18-140mm I recommend above.

Either way, the lenses still take excellent photos, and because so many photographers have moved to mirrorless, the used DSLR lens market is full of capable lenses at prices that have dropped a long way. You can also use many DSLR lenses on a mirrorless body of the same brand with an adaptor, so they aren’t a dead end if you upgrade later.

 

What is the best budget lens for travel photography?

The best budget travel lens is the cheaper walkaround zoom for your camera system, and most systems above include one. A budget zoom typically has a slower variable aperture than a premium lens, but it will still give you image stabilisation and a useful focal range.

The other route to a bargain is the used market. A used walkaround zoom or a used DSLR lens can offer far more lens for your money than a new budget lens, so it’s always worth checking what’s available second-hand before you buy.

 

What is the best travel zoom lens?

For image quality, the best travel zoom is a 24-105mm f/4 class lens: the Canon RF 24-105mm f/4L, Sony FE 24-105mm f/4 G or Nikkor Z 24-120mm f/4 S, depending on your system. The constant aperture and restrained zoom range mean sharper results than a longer zoom can manage.

If by travel zoom you mean maximum reach in one lens, the Nikkor Z 24-200mm f/4-6.3 VR is the pick of the superzooms here, with the Canon RF 24-240mm and Sony FE 24-240mm the closest equivalents on their systems.

 

What is the best camera lens in 2026?

For travel photography in 2026, my recommendation is still a 24-105mm f/4 class walkaround zoom, and each camera system section in this guide names one. The picks have stayed stable because the designs are mature and nothing has displaced them.

The most interesting new arrivals are superzooms: the Sigma 16-300mm for APS-C mirrorless, Tamron’s 18-300mm newly available on Nikon Z and Canon RF mounts, and Nikon’s full-frame Z 28-400mm f/4-8 VR. They’re worth considering if reach matters more to you than low-light performance.

 

Further reading

That’s my guide to the best travel lenses. Before you head off, here are a few more resources to help you on your photography journey.

• My guide to picking the best travel camera, because a lens isn’t much good without a camera to pair it with. We also have guides to the best point and shoot cameras, the best mirrorless cameras, the best cameras for hiking and backpacking, the best action cameras, and the best DSLR cameras.
• Photos need editing to get the best out of them. See our guide to the best photo editing software, and if you need something to edit on, our guide to the best laptops for photo editing.
• If you’re shopping for someone else, see our guide to the best gifts for photographers.
• I have a review of the Peak Design camera strap system as well as the Peak Design travel tripod.
• My series of photography tips, which I’m always expanding with posts like this one, and my photography location guides to help you get the best shot in places around the world.
• An overview of our travel photography gear, in case you wondered what a professional photographer keeps in the bag.
• A beginners’ guide to improving your travel photos for those starting out, plus our guide to how to use a DSLR.
• Our reasons why you need a travel tripod.

 

Looking to improve your photography?

If you found this post helpful and you want to improve your photography overall, you might want to check out my online travel photography course.

Since launching the course in 2016, I’ve helped over 2,500 students learn how to take better photos. The course covers pretty much everything you need to know, from the basics of how a camera works through to composition, light and photo editing. It also covers more advanced topics, including astrophotography, long exposure photography, flash photography and HDR photography.

You get feedback from me as you progress, access to webinars, interviews and videos, and membership of a Facebook group where you can get feedback on your work and take part in regular challenges. It’s available for a one-off price for lifetime access, and you can take a look by clicking here.

And that’s it for my guide to picking the best camera lens for travel photography. I’ll keep this post updated as new lenses are released for the various systems, so do check back when you need advice. I’m also happy to answer your specific questions about picking a lens for your camera, so pop them in the comments below and I’ll do my best to help.