Fujifilm MKE50-135mm T2.9 Lens - Sony E Mount
FUJINON MK 50-135 mm T2.9 achieves high optical performance and low distortion with T2.9 speed across the entire zoom range. with MK 18-55 mm, it covers standard 18 to 135 mm focal length for cinema production. Super 35 mm / APS-C sensor compatibility and E-mount dedicated design have LED to an ultra-compact and "less than 1kg. Outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. Covering the standard 18 to 135mm focal length for cinema production with MK18-55mm and MK50-135mm. Ultra-compact & "less than 1kg" lightweight design thanks to Super 35mm/APS-C sensor compatibility with dedicated E-mount design. Fully manual lens rings for focus, zoom, and iris with 0.8M gear pitch. 200 focus rotation angle for accurate focusing. Seamless iris to avoid vibrations and noise that you get with clicking mechanism. Resolves issues of interchangeable lenses for still digital cameras such as "focus shift and optical axis shift while zooming" and "lens breathing". 85mm front diameter, 82mm filter diameter, and position of 0.8M are standardized between the two models. Features macro function. Features flange focal length adjustment function Covers Super 35 Format, Sony E-Mount, Consistent T2.9 Aperture Over Zoom Range, 3 x Standard 0.8 MOD Gears, Clickless 9-Blade Iris, 200 Focus Rotation and Macro Mode, Color Matched to Fujinon HK/ZK/XK Series, 85mm Front Outside Diameter, Weighs 980 grams, Flange Focal Distance Adjustment.
FUJINON MK 50-135 mm T2.9 achieves high optical performance and low distortion with T2.9 speed across the entire zoom range. with MK 18-55 mm, it covers standard 18 to 135 mm focal length for cinema production. Super 35 mm / APS-C sensor compatibility and E-mount dedicated design have LED to an ultra-compact and "less than 1kg. Outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. Covering the standard 18 to 135mm focal length for cinema production with MK18-55mm and MK50-135mm. Ultra-compact & "less than 1kg" lightweight design thanks to Super 35mm/APS-C sensor compatibility with dedicated E-mount design. Fully manual lens rings for focus, zoom, and iris with 0.8M gear pitch. 200 focus rotation angle for accurate focusing. Seamless iris to avoid vibrations and noise that you get with clicking mechanism. Resolves issues of interchangeable lenses for still digital cameras such as "focus shift and optical axis shift while zooming" and "lens breathing". 85mm front diameter, 82mm filter diameter, and position of 0.8M are standardized between the two models. Features macro function. Features flange focal length adjustment function Covers Super 35 Format, Sony E-Mount, Consistent T2.9 Aperture Over Zoom Range, 3 x Standard 0.8 MOD Gears, Clickless 9-Blade Iris, 200 Focus Rotation and Macro Mode, Color Matched to Fujinon HK/ZK/XK Series, 85mm Front Outside Diameter, Weighs 980 grams, Flange Focal Distance Adjustment.
FUJINON MK 50-135 mm T2.9 achieves high optical performance and low distortion with T2.9 speed across the entire zoom range. with MK 18-55 mm, it covers standard 18 to 135 mm focal length for cinema production. Super 35 mm / APS-C sensor compatibility and E-mount dedicated design have LED to an ultra-compact and "less than 1kg. Outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. Covering the standard 18 to 135mm focal length for cinema production with MK18-55mm and MK50-135mm. Ultra-compact & "less than 1kg" lightweight design thanks to Super 35mm/APS-C sensor compatibility with dedicated E-mount design. Fully manual lens rings for focus, zoom, and iris with 0.8M gear pitch. 200 focus rotation angle for accurate focusing. Seamless iris to avoid vibrations and noise that you get with clicking mechanism. Resolves issues of interchangeable lenses for still digital cameras such as "focus shift and optical axis shift while zooming" and "lens breathing". 85mm front diameter, 82mm filter diameter, and position of 0.8M are standardized between the two models. Features macro function. Features flange focal length adjustment function Covers Super 35 Format, Sony E-Mount, Consistent T2.9 Aperture Over Zoom Range, 3 x Standard 0.8 MOD Gears, Clickless 9-Blade Iris, 200 Focus Rotation and Macro Mode, Color Matched to Fujinon HK/ZK/XK Series, 85mm Front Outside Diameter, Weighs 980 grams, Flange Focal Distance Adjustment.
FUJINON MK 50-135 mm T2.9 achieves high optical performance and low distortion with T2.9 speed across the entire zoom range. with MK 18-55 mm, it covers standard 18 to 135 mm focal length for cinema production. Super 35 mm / APS-C sensor compatibility and E-mount dedicated design have LED to an ultra-compact and "less than 1kg. Outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. Covering the standard 18 to 135mm focal length for cinema production with MK18-55mm and MK50-135mm. Ultra-compact & "less than 1kg" lightweight design thanks to Super 35mm/APS-C sensor compatibility with dedicated E-mount design. Fully manual lens rings for focus, zoom, and iris with 0.8M gear pitch. 200 focus rotation angle for accurate focusing. Seamless iris to avoid vibrations and noise that you get with clicking mechanism. Resolves issues of interchangeable lenses for still digital cameras such as "focus shift and optical axis shift while zooming" and "lens breathing". 85mm front diameter, 82mm filter diameter, and position of 0.8M are standardized between the two models. Features macro function. Features flange focal length adjustment function Covers Super 35 Format, Sony E-Mount, Consistent T2.9 Aperture Over Zoom Range, 3 x Standard 0.8 MOD Gears, Clickless 9-Blade Iris, 200 Focus Rotation and Macro Mode, Color Matched to Fujinon HK/ZK/XK Series, 85mm Front Outside Diameter, Weighs 980 grams, Flange Focal Distance Adjustment.
in 9 offers
The lowest price for Fujifilm MKE50-135mm T2.9 Lens - Sony E Mount right now is $2,240.95 at eBay.com.au, compared across 8 retailers.
The all-time low was $1,784.82 on 29 May 2026 — today's price is 26% above the lowest ever. It has been notably cheaper before — worth setting a price alert.
Prices last updated 8 June 2026.
Last updated at 08/06/2026 18:23:20
[mint] Fujinon Mk 50-135mm T2.9 Cine For Sony E Mount From Japan
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Used Fujinon MK50-135mm T2.9 Lens (Sony E Mount) - Good
Delivery $42.55
Fujinon MK50-135mm T2.9 Lens (Sony E-Mount)
Delivery between 12–17 June $26.64
Fujinon MK50-135mm T2.9 Sony E Mount
Delivery between 11–16 June $12
Fujinon MK50-135mm T2.9 RF Mount
Delivery between 11–16 June $12
Fujinon MK50-135mm T2.9 Lens in Sony E Mount
Delivery between 11–19 June $15
Fujinon MK50-135mm T2.9 Lens in Sony E Mount
Delivery between Wed – Fri $16
Fujifilm MK50-135mm T2.9
Delivery between 11–16 June $12.90
Fujifilm MK 50-135mm T2.9 E-mount
Delivery $73.66
originally posted on bhphotovideo.com
I'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my ... MoreI'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my subjective opinion, which is ...Shockingly, the FUJI zooms looked as good as or better than the primes! It seems to me that the 50-135 did just a little bit better than the 18-55, but it really comes down to splitting hairs.While I could still use by photo-primes (because I'm old-school like that), the zooms give me (obviously) more flexibility. These cine-lenses have a number of other advantages over my ZEs and Schneider PC/TS lenses:No focus breathing. Some of my primes have a noticeable shift in focal length when when changing focus.Then lens bodies don't move when zooming or focusing. There's no way to use a follow focus on my ZE 135 Sonnar, for example.Marking are on the side of the lens not the top, which makes follow focus much easier.In addition, the FUJI lenses are parfocal, which is super nice. Plus they have a facility for Macro that I haven't yet explored. Because these lenses are native RF (thanks to the smart folks at Duclos), you don't even need an adapter!
originally posted on bhphotovideo.com
After using this for a few months, I can say that it was well worth the purchase. Very sharp, good color and contrast, and good separation from the background. I rarely need the zoom capability (but I do need the ability to change focal length quickly), but when I do, it has to be good - this lens stays in focus throughout the zoom. The 200 focus throw makes nailing the focus very easy.Yes, it's plastic but that is the point. It's pointless to compare this to high-end zoom like Angenieux, Arri, Zeiss, etc. Fujifilm intended to make an affordable cinema zoom, addressing the market where DSLR lenses tend to be used. They used their Cabrio line as a performance reference point, and they really delivered. I most often use this in the studio with a teleprompter, and it ... MoreAfter using this for a few months, I can say that it was well worth the purchase. Very sharp, good color and contrast, and good separation from the background. I rarely need the zoom capability (but I do need the ability to change focal length quickly), but when I do, it has to be good - this lens stays in focus throughout the zoom. The 200 focus throw makes nailing the focus very easy.Yes, it's plastic but that is the point. It's pointless to compare this to high-end zoom like Angenieux, Arri, Zeiss, etc. Fujifilm intended to make an affordable cinema zoom, addressing the market where DSLR lenses tend to be used. They used their Cabrio line as a performance reference point, and they really delivered. I most often use this in the studio with a teleprompter, and it is a breeze. I pair this lens with my Sony FS5 - a perfect match for what I do. You really do get high-performance with low-cost.
originally posted on bhphotovideo.com
I have had this lens for a few months now and I have not regretted purchasing it. We have been using it regularly on a BMD PCC4k as part of a six-eight camera video production routine. The images are stunning, and noticeably better than any low budget cinema glass (Rokinon/Samyang) or even mid-budget photographic lenses (Sigma ART, ZEISS ZE). You will instantly feel familiar and comfortable with the look which is not sterile, overly sharp, or video-like. Parfocal feature is fantastic, zoom and focus is very smooth, color rendition and contrast seems true. Minimal breathing and beautiful bokeh. Some reviewers seem to be put off by the use of some plastic in the manufacturing of the lens case. To me it does not feel cheap and I really appreciate the light weight that ... MoreI have had this lens for a few months now and I have not regretted purchasing it. We have been using it regularly on a BMD PCC4k as part of a six-eight camera video production routine. The images are stunning, and noticeably better than any low budget cinema glass (Rokinon/Samyang) or even mid-budget photographic lenses (Sigma ART, ZEISS ZE). You will instantly feel familiar and comfortable with the look which is not sterile, overly sharp, or video-like. Parfocal feature is fantastic, zoom and focus is very smooth, color rendition and contrast seems true. Minimal breathing and beautiful bokeh. Some reviewers seem to be put off by the use of some plastic in the manufacturing of the lens case. To me it does not feel cheap and I really appreciate the light weight that is achieved in this way. I would say that this lens (and it's 18-55mm cousin) are the perfect complement to the PCC4k. Rent it once to try it out. I think you will love it!
| Autofocus | No |
| Choose Style | Carbon Fibre |
| Wi-Fi Enabled | Yes |
[mint] Fujinon Mk 50-135mm T2.9 Cine For Sony E Mount From Japan
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Used Fujinon MK50-135mm T2.9 Lens (Sony E Mount) - Good
Delivery $42.55
Fujinon MK50-135mm T2.9 Lens (Sony E-Mount)
Delivery between 12–17 June $26.64
Fujinon MK50-135mm T2.9 Sony E Mount
Delivery between 11–16 June $12
Fujinon MK50-135mm T2.9 RF Mount
Delivery between 11–16 June $12
I'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my ... MoreI'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my subjective opinion, which is ...Shockingly, the FUJI zooms looked as good as or better than the primes! It seems to me that the 50-135 did just a little bit better than the 18-55, but it really comes down to splitting hairs.While I could still use by photo-primes (because I'm old-school like that), the zooms give me (obviously) more flexibility. These cine-lenses have a number of other advantages over my ZEs and Schneider PC/TS lenses:No focus breathing. Some of my primes have a noticeable shift in focal length when when changing focus.Then lens bodies don't move when zooming or focusing. There's no way to use a follow focus on my ZE 135 Sonnar, for example.Marking are on the side of the lens not the top, which makes follow focus much easier.In addition, the FUJI lenses are parfocal, which is super nice. Plus they have a facility for Macro that I haven't yet explored. Because these lenses are native RF (thanks to the smart folks at Duclos), you don't even need an adapter!
After using this for a few months, I can say that it was well worth the purchase. Very sharp, good color and contrast, and good separation from the background. I rarely need the zoom capability (but I do need the ability to change focal length quickly), but when I do, it has to be good - this lens stays in focus throughout the zoom. The 200 focus throw makes nailing the focus very easy.Yes, it's plastic but that is the point. It's pointless to compare this to high-end zoom like Angenieux, Arri, Zeiss, etc. Fujifilm intended to make an affordable cinema zoom, addressing the market where DSLR lenses tend to be used. They used their Cabrio line as a performance reference point, and they really delivered. I most often use this in the studio with a teleprompter, and it ... MoreAfter using this for a few months, I can say that it was well worth the purchase. Very sharp, good color and contrast, and good separation from the background. I rarely need the zoom capability (but I do need the ability to change focal length quickly), but when I do, it has to be good - this lens stays in focus throughout the zoom. The 200 focus throw makes nailing the focus very easy.Yes, it's plastic but that is the point. It's pointless to compare this to high-end zoom like Angenieux, Arri, Zeiss, etc. Fujifilm intended to make an affordable cinema zoom, addressing the market where DSLR lenses tend to be used. They used their Cabrio line as a performance reference point, and they really delivered. I most often use this in the studio with a teleprompter, and it is a breeze. I pair this lens with my Sony FS5 - a perfect match for what I do. You really do get high-performance with low-cost.
I have had this lens for a few months now and I have not regretted purchasing it. We have been using it regularly on a BMD PCC4k as part of a six-eight camera video production routine. The images are stunning, and noticeably better than any low budget cinema glass (Rokinon/Samyang) or even mid-budget photographic lenses (Sigma ART, ZEISS ZE). You will instantly feel familiar and comfortable with the look which is not sterile, overly sharp, or video-like. Parfocal feature is fantastic, zoom and focus is very smooth, color rendition and contrast seems true. Minimal breathing and beautiful bokeh. Some reviewers seem to be put off by the use of some plastic in the manufacturing of the lens case. To me it does not feel cheap and I really appreciate the light weight that ... MoreI have had this lens for a few months now and I have not regretted purchasing it. We have been using it regularly on a BMD PCC4k as part of a six-eight camera video production routine. The images are stunning, and noticeably better than any low budget cinema glass (Rokinon/Samyang) or even mid-budget photographic lenses (Sigma ART, ZEISS ZE). You will instantly feel familiar and comfortable with the look which is not sterile, overly sharp, or video-like. Parfocal feature is fantastic, zoom and focus is very smooth, color rendition and contrast seems true. Minimal breathing and beautiful bokeh. Some reviewers seem to be put off by the use of some plastic in the manufacturing of the lens case. To me it does not feel cheap and I really appreciate the light weight that is achieved in this way. I would say that this lens (and it's 18-55mm cousin) are the perfect complement to the PCC4k. Rent it once to try it out. I think you will love it!
I have two of these as I purchased a second for a second Komodo. The look is very cinematic with a very nice balance of sharpness. Not overly sharp and not overly soft. Just a good balance between the two. The macro function and back focus ring are absolute bonuses. This lens is very fast to dial in and not overly heavy. The best thing about using this with the 50-135 is that they are both identical weight and size which makes switching between them a breeze.
Ive had this lens for a couple weeks and so far so good! Its gearing is a bit torque heavy than expected but I guess I prefer this to no torque since the focus pulls and zooms will be less whip lash fast on the types of projects I will be using this lens on. Otherwise, I love the feel of the barrel, the 2 lbs / 1kg is light and even wide open at t2.9 the images are perfectly usable. I will mostly ride this at T4 though. Love having the clickless aperture and its parfocal ability. I can confirm that the breathing is minimal, specially compared to still lenses. A winner through and through. If your an owner operator using the Sony ecosystem, then invest in this lens!
I really believe this is a difficult lens to review.... Hits the price point where DSLR shooters are interested, but also experienced DoP's using Cabrio's and Large PL cinema zoom lenses are interested too. If you're use to SLR glass, this can introduce you to the convenience of a cinema built lens. A DoP would say this lens fall short of its higher end accessors.Using lenses in both production realms, I found a great nitch for this lens. This lightweight Fuji works perfectly on my Movi Pro paired with an FS5 and F55 (with Duclos adaptor.) Extremely sharp glass. Would say my only complaint is that it does flare quite a bit. Have to control that.Now with the native E-mount Sony Venice released, I'd love to see them release a full frame version of these lenses. ... MoreI really believe this is a difficult lens to review.... Hits the price point where DSLR shooters are interested, but also experienced DoP's using Cabrio's and Large PL cinema zoom lenses are interested too. If you're use to SLR glass, this can introduce you to the convenience of a cinema built lens. A DoP would say this lens fall short of its higher end accessors.Using lenses in both production realms, I found a great nitch for this lens. This lightweight Fuji works perfectly on my Movi Pro paired with an FS5 and F55 (with Duclos adaptor.) Extremely sharp glass. Would say my only complaint is that it does flare quite a bit. Have to control that.Now with the native E-mount Sony Venice released, I'd love to see them release a full frame version of these lenses. Keeping them lightweight and cost effective would eat up that market space. Nice work Fuji.
This lens covers a nice range for documentary work. Optics are smooth and you just can't beat the form factor, parfocal optics and fast T2.9 aperture. If you're shooting on a S35 sensor, this is the lens to have. The macro function is added bonus and I find myself using it more than expected. This is world-class engineering by Fujinon! The stock lens hood is actually well made and cuts down on flares in bright day-light. My only criticism is the lens would benefit from another screw-in thumb lever placed on the focus barrel for fast focusing.
I just received my 18-55 and promptly put it to use on an 8 day studio/location shoot. I really love it and now I'm selling off other lenses. The 35-105mm FFE range on a MFT sensor is amazing. I can shoot almost everything on that range in studio or for doc work. The only watchout is flaring. Beautiful when you want it, but you better have a mattebox for when you don't. The lens hood doesn't help much. The be exact, I don't think it really flares, it's actually veiling instead of lots of little circular flares.Now if they would come out with a Canon mount version, I'd buy both instantly to use with a C300, C200, or Ursa.
I've used this lens on a variety of shoots, and it's incredible. Very lightweight. Relatively low profile. Very smooth focusing with zero breathing. Some people have bashed it for being a T2.9. If there's a person in the world who can run-and-gun a doc shoot at T1.4 without a focus puller, AC, etc., then I want to meet that person post-haste and get some tips. For the rest of us mortals, T2.9 will do just fine. Especially if you're filming with an Fs5 or 7, which are already great in low light as it is. I always love the question in Q&A's, How did you make it so both people are in focus at the same time. Try stopping down to 4.5 or 5.6. That's where this lens gets awesomely sharp, and pulling focus is a total breeze as a one-man-band.It's not for everyone. It's ... MoreI've used this lens on a variety of shoots, and it's incredible. Very lightweight. Relatively low profile. Very smooth focusing with zero breathing. Some people have bashed it for being a T2.9. If there's a person in the world who can run-and-gun a doc shoot at T1.4 without a focus puller, AC, etc., then I want to meet that person post-haste and get some tips. For the rest of us mortals, T2.9 will do just fine. Especially if you're filming with an Fs5 or 7, which are already great in low light as it is. I always love the question in Q&A's, How did you make it so both people are in focus at the same time. Try stopping down to 4.5 or 5.6. That's where this lens gets awesomely sharp, and pulling focus is a total breeze as a one-man-band.It's not for everyone. It's definitely a lower-contrast lens, a look that I happen to like, but looks different than Zeiss CP glass (or the 21-100 Zeiss zoom). The bokeh is beautiful on the MK. Even though having to change lenses (and buy the other) is a bit inconvenient, they're par focal, which makes things easier, and they're extremely light-weight, but seem to have good build quality. I rented, didn't purchase, so it's hard for me to comment on long-term durability. For what I do, higher-end documentary features and shorts, this lens is perfect.
It's no beauty, but it's small, light, has a clean look and works really well for doc and reality work.But after four years, it developed a back focus issue that's ... yikes! ... $800 (plus tax and shipping) to repair, with no offer by Fujinon to cover any of it.I've been in this biz for a long, long time and I know how to care for gear. For a lens that didn't see much run-and-gun work and spent most of its life in a posh peli penthouse and occasional studio and indoor location work, I expected better.I'd consider this a consumer lens that's not ready for professional use.
| Autofocus | No |
| Choose Style | Carbon Fibre |
| Wi-Fi Enabled | Yes |
