Which lens for portrait photography?

The portrait is a type of photo we end up taking very regularly, whether with friends, family, or strangers. The gear needed to shoot can be very simple (an APS-C sensor and a single prime lens with a large aperture, for example) and fairly affordable in most cases. In short, you’ll easily find what you need to take nice portrait photos without having to invest large sums in ultra-bright lenses that, clearly, can cost you a lot. The same goes for lenses for landscape photography.

Apart from certain action situations, the autofocus systems of even the simplest cameras will be sufficient, and you’ll already have access to plenty of lenses with a good price-to-quality ratio to take portrait photos at attractive prices. In low light, as with all areas of photography, you’ll face some challenges, but again, lenses offering fairly generous maximum apertures are easy to find, and using flashes or other light sources will expand your possibilities. Conversely, in landscape or wildlife photography, for example, subjects are often either too vast or too far away.

This article first briefly presents DSLR and mirrorless bodies suited to portrait photography which, as mentioned above, covers a wide range since most cameras will have sufficient performance for this field. No need for a €2000 full-frame camera to capture beautiful portraits! Next, I detail all the lenses I recommend, both for beginners learning photography and for someone looking to choose a good photo lens to focus on the field more seriously.

Finally, I’ll talk about accessories that can help improve your shots, whether flashes to add light or diffusers and reflectors to shape it. A tips article on settings and tricks, among other things, to better succeed with your portraits will follow shortly, so you can make the most of the gear presented here. The clear idea is that after reading this article, you’ll be able to choose the focal length you need for your portrait photos, know whether you want/can have a constant aperture or not, and whether you want to buy a single lens or several. So how do you choose a portrait lens, and which ones should you pick?

If you already own a Nikon body (DSLR or mirrorless), I invite you to go straight to my guide to the best Nikon portrait lenses. There, for both zoom and prime focal lengths, I go over all the lenses I consider ideal for portraits and detail them one by one!

This is broadly a generalist article to help guide your choice of portrait lens. I will produce, soon or almost, detailed articles laying out the different possibilities for portrait work and going further in depth. I’ll also discuss third-party alternatives much more. Coming soon.

Sensor size is an important point to consider on both a DSLR and a mirrorless camera. Larger sensors (full frame, for example) allow, as always, better performance in low light. Generally speaking, this will often be less essential in portrait photography, particularly in cases where you can, for example, direct your subjects or use accessories to add light. Nevertheless, larger sensors will indirectly allow, for the same framing, a shallower depth of field to isolate the subject by blurring other planes, which is why cameras with APS-C, full-frame, or even medium-format sensors are particularly appreciated. That said, don’t worry, there are other solutions to isolate subjects and let you take beautiful portraits with cameras having smaller sensors like mFT (Micro Four Thirds – Micro 4/3 for mirrorless).

You can therefore choose the camera that matches your budget, from entry-level to high-end, without risking a mistake. Generally, it will almost always be sufficiently capable for portraits. The lowest-end models will have a bit more trouble tracking moving subjects (wildlife, for example), but unless your subject is Usain Bolt at full sprint, that won’t often be a problem. If the amount of light isn’t sufficient (dark areas, for example), some entry-level cameras will struggle more to take a photo and to lock focus (your autofocus will “hunt,” as we say in the jargon…). If you like taking “candid” portraits, mirrorless cameras are overall more discreet and thus more interesting, and a tilting screen will also give you certain possibilities.

In most brands, mirrorless or DSLR, you’ll easily find lenses well suited to this type of photo. DSLRs will keep a wider choice with bodies and lenses that are sometimes more affordable, like the D3x00 and D5x00 or the 2000/4000D and 250D combined with the 50mm and 85mm f/1.8 at Nikon and Canon. But portrait work is very well suited to mirrorless cameras, since most of their drawbacks versus DSLRs won’t be obstacles, while many of their advantages will be real assets. Thus, the OM SYSTEM OM-5 Mark II, Panasonic GH5 II, the Fujifilm X-M5, Sony A6400 (or more recent like the A6700) will all be good cameras. For those interested in full frame, the first-generation Sony Alpha 7 models like the A7 III are still a good option. You can find them much cheaper today, and the faults they were criticized for, particularly slow AF, aren’t really important for portrait work—just like entry-level DSLRs such as Canon’s 6D (mine) or Nikon’s D610 and D750.

For portrait photography, focal lengths between 35 and 200mm are generally recommended (24 to 135mm on APS-C, 17 to 100mm on mFT) depending on the type of portrait, from contextual shots integrating the subject into their environment to tight framing. Of course, nothing prevents you from shooting portraits with a wide-angle or a very long telephoto to vary perspectives and effects, but that will require more experience and practice. Ultra-wide-angle/fisheye lenses will be avoided because their focal range brings quite a bit of distortion. For a laugh among friends, it’s pretty funny, haha!

Short focal lengths, 35 and 50mm, will often be more practical for wide portraits (or when you lack room), whereas longer focal lengths, 85 and 135mm for example, let you tighten the framing. Nevertheless, you can also use short focal lengths to add depth to a tight portrait, or long focal lengths to compress the planes for wide portraits. Simply put, background elements will be less present with a long focal length for the same framing. Prime lenses between 35 and 135mm with fairly large apertures (around f/2) are often relatively affordable and of very good quality. Zooms with generous f/2.8 apertures (or more) are, for their part, often more expensive.

Choosing a lens is never simple, so what’s the point of a large aperture—of a very bright lens—for taking portraits? Is the aperture important to consider, then? These large apertures will give you two main advantages. First, they let more light reach the sensor and thus reduce the shutter speed to better freeze motion, or reduce ISO sensitivity to get better image quality. Second, they let you play more with depth of field to better isolate the subject by accentuating background blur, the famous bokeh. Prime lenses with even larger apertures, f/1.4 or f/1.2 for example—favored by professional photographers—also very quickly get very expensive. That’s why primes with f/1.7 or f/2 apertures are really interesting. They’re much cheaper than the versions with larger apertures and even cheaper than most f/2.8 zooms, even if they’re not as versatile.

Zooms opening at f/2.8 like 24–70mm—and even more so recent 70–200mm telephoto zooms—generally have built-in stabilization. In most cases, for portraits, the shutter speed needed to freeze motion will be enough that this stabilization isn’t essential. However, it will bring a certain comfort for longer focal lengths, where a shutter speed that’s too slow can cause camera shake, for doing motion panning, or for video. For those who don’t know, the panning technique is a trick that consists of following the subject during the exposure with a relatively short shutter speed so that the subject is sharp and all the elements around are blurred, thus creating a “panning” effect. Many primes don’t have stabilization at these focal lengths, but, for example, most recent mirrorless cameras have stabilized sensors, making lens stabilization unnecessary. By the way, want to know more about the different sensor formats in photography?

If you already have a Sony APS-C or full-frame body, we’ve written a complete guide detailing the best Sony lenses for portrait photography.

For Panasonic and Olympus Micro 4/3 sensors, which share the same mount and can therefore use both brands’ lenses interchangeably, you’ll find numerous options between 15 and 75mm: 15, 20, 25 and 42.5mm f/1.7 at Panasonic; 17, 25, 45 and 75mm f/1.8 at Olympus for the more “affordable” ones. Since its sale, OM System has also offered lenses very well suited to portraits such as its 17mm, 20mm, 25mm, 45mm or 75mm.

For larger apertures, there are also much more expensive lenses like Olympus’s 17, 25 and 45mm f/1.2, and Panasonic’s 25mm f/1.4 and 42.5mm f/1.2. Sigma also offers very interesting f/1.4 primes in this mount, the 30 and 56mm. For zooms, Panasonic’s 12–35mm and 35–100mm f/2.8 are quite pleasant thanks to their dimensions, as are Olympus’s 12–40mm f/2.8 and 40–150mm f/2.8. OM System now offers them too, with its OM System M.Zuiko Digital ED 12–40mm f/2.8 II Pro and OM System M.Zuiko Digital ED 40–150mm f/2.8 PRO.

Here is the summary table of Micro 4/3 lenses I recommend for portrait (sortable table as always)

On APS-C, at Fujifilm you’ll find standard zooms like the 16–55mm f/2.8 and, recently, the 16–80mm f/4, as well as the 18–55mm f/2.8–4 often supplied in kits. For longer focal lengths, the 50–140mm f/2.8 is very capable but relatively expensive; we’re still waiting for a zoom of this type at f/4. For the moment you’ll need to turn to the 55–200mm f/3.5–4.8. In primes, you’ll find fairly affordable f/2 options at 23, 35 and 50mm, and higher-end f/1.4 options at 23 and 35mm, f/1.2 at 56mm and finally f/2 with the excellent 90mm.

But the opening to third-party brands is a boon, and you’ll also find some great options from Sigma and Tamron, such as Sigma’s 23mm, 30mm and 56mm, all at f/1.4, or the two competing zooms: Tamron 17–70mm f/2.8 Di III-A VC RXD X and Sigma 17–40mm f/1.8 DC Art X.).

The table below compares these different models (but there are others…).

At Sony, among zooms you’ll find the 16–55mm f/2.8 G and the 16–70mm and 18–105mm f/4 as standard options. For longer focal lengths, however, you’ll need to turn to lenses designed for full frame. For primes, you’ll find the 24, 35 and 50mm f/1.8; otherwise you’ll also need to turn to full-frame lenses. You’ll also find at Sigma the 23mm, 30mm and 56mm (f/1.4), which are excellent references, or the Sigma 18–50mm f/2.8 DC DN Contemp. Here are the lenses mentioned, compared in the table below.

At Canon and Nikon, in APS-C mirrorless, choices are few, even if you’ll find some great options without breaking the bank. At Canon, it’s mainly at Sigma that you’ll find good options with the classic 23mm, 30mm, 56mm and the 18–50mm—the same as in X or E mount. At Nikon, you basically have the same, but you can also find the Nikon Z DX 24mm f/1.7 which can be suitable.

In full frame, at Sony, the choice is really extensive, with something for every taste and budget. I’m not going to list everything, but you’ll notably find 24–70mm (f/2.8 and f/4) and 70–200mm (f/2.8 and f/4), as well as a 24–105mm f/4. For primes, you’ll have a range of f/1.8 lenses at 35, 50, 55, 85 and 135mm, as well as 35, 50 and 85mm at f/1.4. Of course, there are others…

Here are the Sony FE lenses for portraits, compared below.

With third-party brands, the choices are also numerous, particularly at Sigma and Tamron. We can notably cite some zooms such as the Tamron 35–150mm f/2–2.8 Di III VXD, Tamron 70–180mm f/2.8 Di III VC VXD G2 or the Tamron 35mm f/2.8 Di III OSD M 1:2. At Sigma, you’ll find many equivalents to Sony, such as a 24mm f/1.4, the famous Sigma 24–70mm f/2.8 DG DN II Art, the Sigma 28–105mm f/2.8 DG DN Art, or numerous primes like several 35mm (from f/1.2 to f/2), 50mm options, or a very good 85mm f/1.4.

Here are a few references summarized in the table below.

For Canon full-frame bodies, the choice will be more limited, although it’s becoming increasingly interesting. Notably on the zoom side, the very good (and expensive) Canon RF 24–70mm f/2.8L IS, Canon RF 28–70mm f/2.8 IS STM or Canon RF 70–200mm f/2.8 L IS USM. For primes, you’ll have more choice and at more interesting prices, like the Canon RF 28mm f/2.8 STM (for wide shots), Canon RF 35mm f/1.8 Macro IS STM, or one of the three 50mm lenses depending on your budget (the Canon RF 50mm f/1.8 STM remains an excellent choice for a small budget). For longer focal lengths, I particularly recommend the Canon RF 85mm f/1.2L USM (but very expensive) or the Canon RF 135mm f/1.8 L IS USM.

For Nikon Z, it’s a bit the same as for Canon RF, the mount having arrived later. However, you’ll also find some great options. For zooms, for example, the Nikon Z 24–70mm f/2.8 S, the Tamron 28–75mm f/2.8 Di III VXD G2 Z or the Nikon Z 28–75mm f/2.8. The Tamron 35–150mm f/2–2.8 Di III VXD Z and Nikon Z 70–200mm f/2.8 S VR can also be very suitable for portrait if you want the flexibility of a zoom and a longer focal length.

For primes, you’ll turn to the classics: Nikon Z 35mm (f/1.8 or f/1.4), the 50mm (f/1.2, f/1.4 or f/1.8 depending on your budget) and finally the 85mm (f/1.2 or f/1.8).

For the L mount, I’ve summarized a few interesting lenses for portraits (there are others):

During the recent update of this article, I had to remove numerous references that are no longer available, DSLRs are clearly on the decline in favor of mirrorless cameras.

Let’s get to the heart of the matter: finding a lens for portraits. For APS-C sensors for Nikon and Canon and regarding zooms, some “standard” options cover focal lengths appreciated in portraits, such as the 16–80mm f/2.8–4 at Nikon or the 17–55mm f/2.8 at Canon. You can, however, find much cheaper at Sigma with the 17–50mm f/2.8 and 17–70mm f/2.8–4. Sigma also offers, at a higher price but with exceptional quality and an unprecedented maximum aperture for a zoom, the 18–35mm f/1.8 Art. The choice in long-focal-length zooms for this format is more limited, with 55–200mm and 55–250mm f/4–5.6 at Nikon and Canon, as well as, once again, an exceptional zoom at Sigma, the 50–100mm f/1.8 Art. If you want more choice, you’ll need to turn to full-frame-compatible lenses like the 70–200mm f/2.8 and f/4, or the recent Tamron 35–150mm f/2.8–4.

For primes, the situation is similar, since there are few APS-C options for DSLRs. At Nikon, the only one you’ll likely find is the 35mm f/1.8 DX, considered by some as the must-have reference for its very acceptable price and compact size, or the Sigma 35mm f/1.4 Art also available for Canon. To go further, you’ll again need to turn to full-frame-compatible lenses like the 50mm and 85mm f/1.8 at Nikon and Canon. There are also more high-end—and much more expensive—f/1.4 versions at Canon and Nikon. Finally, among third-party brands, Tamron offers 35mm and 85mm f/1.8. Sigma also offers a 35mm f/1.4, a 50mm f/1.4 and an 85mm f/1.4.

In full frame, among standard zooms you’ll find the 24–70mm f/2.8 (Canon/Nikon/Tamron/Sigma) and 24–105mm (Canon) and 24–120mm f/4 (Nikon), usable on APS-C as well and covering ranges even better suited to portraits than the 17–55mm and 17–70mm. They will, in fact, be equivalent to 35–105mm and 35–150mm / 35–180mm. For telephotos, the famous 70–200mm f/2.8 (Canon/Nikon/Tamron/Sigma) and f/4 (Canon/Nikon) mentioned above will also work well. The recent Tamron 35–150mm f/2.8–4 is also a good option here to have an affordable zoom, relatively bright and covering a focal range very well suited to portraits on full frame.

Full-frame primes are numerous, from 35 to 135mm via 50mm and 85mm. At Nikon as at Canon, you’ll have, in the f/1.8 range, the 50mm (Canon and Nikon) and 85mm (Canon/Nikon) which are fairly affordable (the f/1.4 and f/1.2 versions are expensive). In 35mm, Nikon has an f/1.8 and an older f/2, while Canon offers a fairly recent stabilized f/2. Beyond 85mm, Nikon offers old 105mm and 135mm f/2, as well as a much more recent and excellent 105mm f/1.4. Canon has a magnificent 135mm f/2. In both brands, you also have access to Tamron’s 35mm and 85mm f/1.8, which have the particularity of being stabilized, and to Sigma’s 35, 50, 85 and 105mm f/1.4 and 135mm f/1.8 Art lenses, all of excellent quality and often more affordable than Nikon and Canon’s top-tier options.

As is often the case in photography, light will often be lacking, but in portrait work it will be especially interesting to shape it to highlight the subject even more. Thus, accessories like a flash will prove valuable assets in many cases. Note, however, that it will take a lot of practice and knowledge to make the most of them, particularly the flash, which isn’t just a lamp that throws out a burst. It lets you direct that burst, dose its power, and even use multiple units by placing several flashes strategically. Flashes offered by camera makers are often quite expensive, but other third-party brands make copies that are often much cheaper and almost as effective, such as Yongnuo, Meike or Godox.

To shape the light, you’ll also find diffusers and reflectors. As their names suggest, the former diffuse the light to soften it, and the latter reflect light to reduce a scene’s brightness differences. Neewer offers many diffusers and foldable reflectors with different faces—silver, gold, neutral, black…—at very affordable prices. The larger they are, the more significant their effect. The same brand also offers, to build yourself a small “studio,” softboxes with tripods and fairly powerful lamps.

And so we come to the end of this article on gear suited to portrait photography. As you can see, it won’t be necessary to spend a lot on high-end equipment to get good results; even a €300 entry-level camera and a lens with an f/1.8 aperture (sometimes even f/1.4) will let you create sublime portraits. All that’s left is to learn to set your camera, manage the light, and direct your models—which I hope to share with you in the next article on settings and tips suited to this type of photography. If you like gear articles, I invite you to read how to choose your mirrorless lenses?

See you soon,

Written by Sylvain PONS

I've been passionate about photography since 2010, learning as I went along. Today, I dedicate myself to guiding others in their choice of camera gear and sharing a variety of tips to improve their photography skills.

Despite our care, a mistake may have slipped into this article. If you find any, please don't hesitate to let us know so we can correct it as soon as possible and keep our information up-to-date!