The best Nikon lens for portraits

In this article, I will introduce you to the Nikon lenses I consider the most suitable for portrait photography, and the reasons why I consider them as such. After my article on the best Nikon wide-angle lenses, here is my selection of portrait lenses currently available from Nikon.

If you have already bought a lens for your portraits and this one is not in the list, but if it fits your needs, you obviously don’t have to change it. You can even talk about it in comments, it is always possible that I missed a reference.

Before we start, let’s get something clear. In absolute, there are no lenses made only for portraits, meaning that you can practice this type of photography with any lenses with more or less variable focal length. However, some focal lengths are often particularly appreciated in this exercise, whether for macro photography or environmental portraits, which you can find in the article on lenses for portraits recently published on our blog. Moreover, some of the lenses mentioned in it will of course be found in the list of the best Nikon portrait lenses.

I managed to personally use some of these lenses, but I obviously could not test them all. Then, I had to do some research and comparative tests and opinions to get the most unbiased list possible. You will therefore find for each of these lenses a summary table as well as my personal appreciations. Most of them being top-of-the-range and thus very expensive or just too performant for common uses, I will also add some alternatives because, let’s be honest, the best lenses are usually the most expensive ones.

I have classified my choices by sensor sizes, because when mounted on a full-frame sensor, the APS-C lenses do not cover the whole image sensor. Conversely, full-frame lenses mounted on an APS-C sensor do not cover the same field of view, which in both cases will change the framing. I will not detail either the measurements of optical defects such as vignetting or distortion, other sites have taken care of this with precise protocols and measurements, and most of these defects can be corrected by the cameras or, if needed, by using post-processing (Photoshop, Lightroom, DXO, etc.).

If you already own a Sony APS-C or full-frame camera, we wrote a detailed guide on the best Sony lenses for portrait photography.

I won’t repeat everything I said in the article on portrait lenses, where you will find advices on choosing a lens in this domain, but I will nevertheless summarize here the main elements you have to consider.

Nikon APS-C DSLRs are divided into several categories, the D3x00 and D5x00 for the entry-level range, the D7x00 for the expert range and the D500 for the professional range. Here is my opinion on the Nikon APS-C DSLR lenses you can consider for portrait photography. If you want to go further and to have a look at other Nikon APS-C alternatives for portrait photography, I invite you to check our complete guide which lists all Nikon DX lenses. You will find all Nikon lenses for APS-C sensors as well as third-party lenses for this mount.

These are for me the 5 best Nikon lenses for APS-C camera bodies:

1. Nikon AF-S DX 35mm f/1.8G
2. Sigma DC HSM Art 30mm f/1.4
3. Sigma DC HSM Art 50-100mm f/1.8
4. Sigma DC HSM Art 18-35mm f/1.8
5. Sigma DC OS HSM macro Contemporary 17-70mm f/2.8-4

To compare the lenses between them, I have summarized the ones I recommend in the table below.

Being one of the few fixed focal lengths for APS-C designed by Nikon, this 35mm is considered by any Nikonist using an APS-C camera as a must-have. It offers the field of view of a 50mm on full frame, a standard framing for many uses, including portrait.

This lens has a very good reputation thanks to its high quality image, its large aperture, its measured dimensions and weight and above all its very affordable price. The center of the image is high level at full aperture but the edges will need to close at f/2.8 to be as good.

Although it has become difficult to find this Sigma on generalist websites, it is still quite easy to find it on specialized photography stores websites. It has the merit of offering an alternative with a larger aperture than the 35mm f/1.8 DX from Nikon.

It also offers a very good image quality but requires closing the diaphragm at f/2.8 in order to obtain a nice homogeneity. It has since been redesigned for mFT and APS-C mirrorless cameras, so I would less recommend this version for Nikon DSLR, which is getting outdated and doesn’t offer much better than the Nikon for a more expensive price and physical characteristics.

With this lens, Sigma wanted to offer APS-C users a lens reference for portraits with a zoom close, in features and output, to the 70-200mm f/2.8 on full frame, even if the 50-100mm corresponds to the full frame field of view of a 75-150mm. This is a remarkable achievement as it is the only one in this focal length range capable of opening at f/1.8.

Like most Sigma Art lenses, the manufacturer has prioritized image quality. The result is a very high level of quality at full aperture in a lens that is certainly heavy and bulky, but in the end, no more than a 70-200mm f/2.8 full frame. You won’t get any stabilization but in portrait the larger aperture will often be more appreciable. The price is still worthy of a top-of-the-range lens, but it is worth the money.

As for the 50-100mm, Sigma intended to propose a lens allowing to obtain the equivalent of a 24-70mm f/2.8 on full frame. Again, the focal length range is not quite the same since the 18-35mm is equivalent to a 27-52mm in full frame.

With the Art range, the image quality has been privileged and you get high level images from the full aperture as well. Its focal range makes it more suited to wide shots and environmental portraits, and its price is also worthy of a high-end. You will then have to consider all these factors before you buy it and use it for a more general purpose than portraits in order to make the investment worthwhile.

If you are interested by a less specialized and less high-end lens than the zooms and fixed focal lengths at the top of this ranking, here is a zoom covering a focal length range well suited for portraits since it covers a 25-105mm on full frame and offers more generous maximum apertures than the f/3.5-5.6 kit zooms.

Sigma’s contemporary range is thought to be affordable, that’s why its price is very correct considering its characteristics while keeping a good quality of construction. It also offers a macro function, which although not offering a 1:1 ratio, allows to make close-ups. This function, as well as its stabilization, allow an obviously broader use than portraits. Its image quality is very good even if the edges suffer more at its shortest focal lengths, but for portrait photography it is not the focal lengths that will be used the most.

The table below summarizes the main characteristics of the 5 Nikon lenses for APS-C cameras.

Regarding portrait lenses for full-frame DSLR, the choice is much wider, especially since, as specified in the chapter before, this one is the same since 1959. Also, most of the lenses are compatible with recent DSLRs even if these were manual focus lenses before the 90s. Just like for Nikon DX lenses, don’t hesitate to check out our guide to all Nikon FX lenses. You will find other portrait lenses from Nikon or third-party brands.

I have chosen here to break down the lenses into 4 categories:

• The first one lists the zooms covering focal lengths between 35 and 85mm,
• The second are those that cover focal lengths between 85 and 200mm,
• The third one has fixed focal lengths between 35 and 85mm,
• The fourth one is about focal lengths between 85 and 200mm.

In order to avoid making a classification in which a 35mm would be in a better place than a 135mm when they are two totally different focal lengths. It is worth mentioning that full-frame lenses are compatible with APS-C sensor DSLRs, which means that lenses like 24-70mm and 24-105mm will be quite suitable for portraits since they will compose like 35-105mm and 35-150mm. Some lenses like the 50mm, which will have a framing close to 85mm, are generally more expensive.

I will also mention at the end of each list some more affordable alternatives, if they seem relevant, and some lenses that could be considered but that I would not personally recommend.

In the paragraphs below, I’ll talk about the Nikon zooms between 35 and 85mm which I consider the best for full frame cameras:

1. Tamron SP Di VC USD 24-70mm f/2.8 G2
2. Sigma DG OS HSM Art 24-70mm f/2.8
3. Sigma DG OS HSM Art 24-105mm f/4
4. Nikon AF-S 24-120mm f/4G VR

A summary of the characteristics of the four lenses is presented in the table below.

In the ballet of the 24-70mm f/2.8, this Tamron G2 version holds a special place as it is the successor of the G1 version, which was the very first 24-70mm carrying a stabilizer. The G2 version has been improved on all points: better image quality, better construction, better grip, better stabilization and a compatibility with the Tamron console, which allows you to customize many of these functions and keep it up to date.

Although the edges are not the sharpest at full aperture, they improve quickly from f/4 and throughout the entire focal length range. Some of you may find the price of 1000€ a bit high but remember that a 24-70mm f/2.8, not as good as this one and unstabilized, costed twice as much just 10 years ago. Its versatility makes it suitable for a wider use than only portraits, but it is a very popular zoom lens in the field – for example, wedding photographers often associate it with a 70-200mm f/2.8.

The 24-70mm f/2.8 Art version of Sigma has been awaited for a long time, after a slightly outdated EX version which was pretty interesting for its price. The Art version therefore offers better image quality, better construction and stabilization. It is also compatible with the USB dock, allowing to easily customize its functions.

It does better on the edges at full aperture than the Tamron, but the long focal lengths don’t improve much when stopping down, so we can say that the Sigma will be more interesting for those who shoot mainly at f/2.8 while the Tamron will be more interesting for those who want to use their 24-70mm to shoot various types of pictures. Although it is very slightly shorter than the Tamron, it is heavier and generally a bit more expensive with a slightly less “serious” construction, that’s why I ranked it just behind the Tamron.

Less famous than the 24-70mm f/2.8 of the range, even if released much earlier, this 24-105 has however several assets, but unfortunately a lot of drawbacks as well. Why would I rank it third, then? Because it has the merit of offering an interesting focal length range with a very good image quality, better than the 24-85mm and 24-120mm offered by Nikon.

Already of high level at full aperture, it suffers nevertheless on the edges on long focal lengths. Its stabilization is efficient and its construction, although inferior to the Nikon and Tamron of the same kind, is still very correct. We can complain in particular about its weight, almost identical to the 24-70mm f/2.8 of Tamron, and its minimum focusing distance a little larger. A good all-purpose zoom lens offered at a good price since it is less than 800€.

Of course I had to put a Nikon in the list and this 24-120mm is the one I’ve chosen. It is slightly more expensive than the Sigma above and provides a poorer image quality. It still has some advantages over the Sigma which can be interesting, starting with the range which is a bit wider since it reaches the 120mm focal length despite its smaller dimensions.

It is also lighter, and its construction corresponds to the relatively high-end Nikon lenses ones as indicated by the gold border and the N symbol, indicating that its lenses have undergone the nano-crystal treatment dear to Nikon. It has overall more optical defects than its competitor from Sigma, but the bodies correct them better. If you shoot in Jpeg, this Nikon will therefore require less work in processing.

Here is a summary of the main characteristics of the optics mentioned above.

The alternatives

Within the zooms covering this range, Nikon offers, as mentioned above, the 24-85mm f/3.5-4.5G VR, which was offered as a kit with Nikon’s entry-level full-frame DSLRs. Its main assets are its physical characteristics, its weight (less than 500g) and measures (just over 8cm), for a price of less than 500€. Its image quality is however well below the other lenses on the list. You can also still find the 24-70mm f/2.8 in its first version for less than 700€, a very reasonable alternative, even better than the 24-85mm but, due to the f/2.8 aperture, bigger and heavier. Finally, still from Tamron, you can still find their “old” 28-75mm f/2.8 macro for less than 600€.

I’ll add a little precision about the 24-70mm f/2.8 from Nikon and why I didn’t put them in the list. Quite simply, their prices and features are in my opinion not worth the cost compared to Sigma and Tamron’s offers. I think it is a bit scandalous that Nikon keep selling its first unstabilized version at nearly 1500€, and just as outrageous that the stabilized version is over 2000€! If you are a professional photographer who absolutely thinks that the golden edging and the Nikon name on the lens are worth double the price, then treat yourself! On the other hand, if you are a thoughtful buyer and more interested in the quality/price ratio than in the standing, there is no hesitation: privilege third-party brands!

To sum up, here are the best Nikon zoom lenses between 85 and 200mm for portrait photography and full frame cameras.

1. Tamron SP Di VC USD 70-200mm f/2.8 G2
2. Sigma DG OS HSM Sport 70-200mm f/2.8
3. Tamron Di VC USD 70-210mm f/4
4. Tamron Di VC OSD 35-150mm f/2.8-4

The main characteristics are summarized in a table below.

As with the 24-70mm, Tamron has once again come up with an exceptional lens that has nothing to envy Nikon’s lenses. Here too, Tamron offers a second version that improves all the points where the first version was a bit behind, in particular better image quality on long focal lengths, shortcuts for shooting with stabilization or limiting the focusing distance range to improve autofocus speed, better construction and compatibility with the Tamron console.

Its image quality is excellent at full aperture and at all focal lengths; some tests even put it on a level with Nikon’s 70-200mm f/2.8E costing twice the price or even more at some focal lengths, especially in mid-zoom. Its stabilization is formidable, its AF is very fast and its minimum focusing distance is one of the shortest for a zoom of this type. Its weight and dimensions are important but, compared to the other 70-200mm, are quite within the standards.

The Sport version of Sigma’s 70-200mm has also been long awaited. Sigma used to offer an EX version which was relatively popular, but Tamron took the advantage by releasing both versions faster with superior image quality.

This 70-200mm competes with the Tamron a little bit more, although in the middle of the zoom it is outperformed, it does better on the extreme focal lengths. So, the Sigma will be more interesting if you tend to use the focal lengths close to 70 and 200mm while the Tamron will do better if you use the range between 90 and 150mm. The last arguments which make me rather choose the Tamron are the dimensions and especially the weight, which are more reasonable on the Tamron, as well as the larger minimum focusing distance. The Sigma, on the other hand, has a shortcut button on the barrel that reminds me of the ones Nikon put on its 70-200mm f/2.8E and which is absent on the Tamron, but you still need to have a real use for it…

The 70-200mm f/4G VR from Nikon was for a long time the only option in this range and with this aperture, which was not a big problem thanks to its high quality but since then Tamron finally released its own model a short time ago. When the Nikon still costs about 1500€, the Tamron is now less than 700€.

Beyond the price difference, the Tamron offers an image quality equivalent to the Nikon which has always been popular in this field, but with a more efficient image stabilization and a faster AF. The Nikon keeps for itself its top-of-the-range Nikon design, but the Tamron is however not to be outdone since it is also very well designed. The distance limiter is also unfortunately absent on the Tamron – but honestly, having a lens of this level at this price obviously took some concessions. In short, you have a lens as good and functions (AF and stabilization) better than the Nikon for less than half the price, what more could you ask for?

Released very recently, this 35-150mm is presented by Tamron as a lens specially designed for portraits. With its range of focal lengths, I could have put it in the list of zooms between 35 and 85mm. It also has an advantage for APS-C users who don’t want a heavy and bulky 70-200mm and who regret when Sigma and Tokina offered 50-135mm f/2.8 for APS-C.

However, in terms of weight, it is in the same order as a 70-200mm f/4. It is however much shorter with a shorter minimum focusing distance and an interesting price, although slightly higher than the 70-210mm f/4 of the same brand (which should change quickly, the 70-210 being at its “cruising” price while this 35-150 remains close to its exit price). With a very good quality image, alike the 70-210mm f/4, it is still in difficulty at f/2.8 at short focal lengths, and some might consider it as a very good 35-150mm f/4.

The table below shows the 4 optics mentioned above.

Once again, some might be surprised not to see Nikon lenses in the list. Nevertheless, unlike the 24-70mm of the previous list, the 70-200mm offered by Nikon are quite recommendable but they have a very big drawback: their prices! As indicated, although it is of a very high quality and of a perfect design, the 70-200mm f/2.8E costs twice as much as the Tamron G2 for results that are not really superior (or not very visible, when they are), just like the 70-200mm f/4G costs twice as much as the Tamron for overall inferior performances. However, if you find good offers or you’re just into the “Nikon” standing, I consider them less questionable than the 24-70mm.

You can also find the previous version of the 70-200mm f/2.8 from Tamron at reasonable prices, although it’s getting more and more difficult, or the first unstabilized version – delivering very good quality – for less than 700€, but note that it is not stabilized, with a noisy AF and a less robust design. I won’t mention the entry-level 70-300mm f/4-5.6 which are more to be considered as kit lenses, the purpose here being to offer something better.

Below, you will find the 5 Nikon prime lenses I consider best for portrait photography:

1. Tamron SP Di USD 35mm f/1.4
2. Sigma DG HSM Art 40mm f/1.4
3. Sigma DG HSM Art 50mm f/1.4
4. Tamron SP Di VC USD 35mm f/1.8
5. Nikon AF-S 35mm f/1.8G

The main characteristics of these 5 lenses are summarized in the table below.

It took a long time before Tamron decided to offer a prime lens opening at f/1.4, but the wait was worth it (even if a bit contradictory with the growing popularity of mirrorless cameras, since this lens is designed for DSLRs) as they managed to release what they had announced: designing the best 35mm of the moment.

The image and construction qualities are flawless on every level. Some may regret that Tamron has released such a heavy and bulky lens without stabilization, unlike the other primes in their catalog, for a price that may seem high (around 900€) but in this category, it is a pretty good price. For those looking for a lighter and more affordable option with still a good image quality and design, the stabilized f/1.8 version will be a better and a more versatile choice.

Sigma also has a 35mm in the Art range, but this one is getting old and is behind the Tamron, in particular at full aperture. Later, Sigma released a 28mm and especially this 40mm f/1.4 which was a smash hit. In a word: what an amazing piece of work!

But it’s also heavy in terms of dimensions, weight and price since it is over 1000€. Sigma has chosen an optical conception thought for the cinema, which means doing the maximum to reduce optical defaults because they are less easy to correct in video than in photography (makes sense when, on a photo, the defaults are fixed and only concern an individual image, whereas in video it would be a question of correcting tens or even hundreds of successive images on the fly). If you are looking for excellence in both photography and video in this type of focal length, the 40mm Sigma Art is extraordinary. But if you are mainly doing photography, the 35mm Tamron will be more suitable.

The 50mm f/1.4 Art is a very famous lens. It was compared upon its released to the 55mm f/1.4 Otus by Zeiss, an absolute reference at the time, and it came out with honors in most of the tests.

Many also compare it with the 50mm f/1.8 and f/1.4 of Nikon and Canon to point out its physical characteristics but it is not intended for the same target. The Nikon and Canon ones have simple designs to reduce costs, while the Sigma Art has been designed to deliver the best image quality without compromise, hence its price around 700€. However, it will be necessary to have a real use for it to justify its purchase compared to the simpler versions of the manufacturers.

Mentioned in the paragraph about the f/1.4 version, this 35mm f/1.8 is a very good choice for those looking for a high-performance and versatile 35mm that provides a high-level of image quality.

Although it is not without flaws, especially the rather important chromatic aberrations at the largest apertures, it offers a very good image quality and an interesting stabilization system for landscape type uses or for video, as well as a shorter minimum focusing distance than most 35mm. Another regret is that it is still a bit expensive, around 650€.

Not to be confused with the DX version designed for APS-C, this one, that can sometimes be found with the mention “FX”, is designed for full frame and is therefore a bit bigger and heavier. Like most lenses of the f/1.8G range, it offers a good price/performance ratio with a correct design.

It is not the sharpest at full aperture, but it becomes very good by closing a little the diaphragm. A good alternative if you don’t want to lug around one of the big lenses at the top of the list and for a correct price: around 500€.

Here are the 5 lenses summarized in the table above.

The alternatives

There are several options for this type of lenses, starting of course with the 50mm f/1.8 and f/1.4G of Nikon. The f/1.8 version seems more interesting to me because its image quality is quite high, as much as the f/1.4 version, for a more than reasonable price and physical characteristics, since it is around 200€ for less than 200g. The old f/1.8D version can still be found new for less than 150€ and is even lighter with a very honorable image quality, although it will lose AF if you place it on an APS-C DSLR or on the latest mirrorless camera of the brand – like the 35mm f/2D, still sold new for a little more than 300€, but with a lower quality than the f/1.8G version.

Tokina proposes, to compete with the Sigma Art, a 50mm f/1.4 Opéra of very high level but a little more expensive and also a little heavier. About Sigma, let’s not forget the 35mm f/1.4 Art which quickly became a reference, being able to do better than the high-end Nikon and Canon versions. Today, this 35mm has lost some of its beauty against the Tamron but it is still quite recommendable for this price, around 750€. Tamron has also released, along with the 35mm f/1.8 VC USD, a 45mm f/1.8 VC which is slightly cheaper but with a bit lower image quality at larger apertures. As for the high-end , it is now too outdated and still too expensive to be, in my opinion, preferred to the Tamron/Sigma versions or even the f/1.8G version.

You will also find some “low-end” possibilities of the 50mm f/1.8 Yongnuo type but the Nikon version is better and only slightly more expensive, especially for secondhand use, therefore more recommendable.

Finally, here are the best Nikon fixed focal lengths lenses between 85 and 200mm for portrait (and full frame).

1. Sigma DG HSM Art 135mm f/1.8
2. Sigma DG HSM Art 85mm f/1.4
3. Nikon AF-S 105mm f/1.4E
4. Sigma DG HSM Art 105mm f/1.4
5. Tamron SP Di VC USD 85mm f/1.8

The main characteristics of these 5 lenses are summarized in the table below.

The 135mm are special focal lengths for portraits, which were very common in film. At Nikon, the 105mm has been preferred and portrait photographers tend to rather use the 85mm, but this 135mm is really one of the best lenses all brands combined.

Its image quality is outstanding at full aperture and it shows a very few optical defects. For a little more than 1100€, we have a big baby that quickly became a reference in portrait photography with a quite short minimum focusing distance for this type of focal length. It is also compatible, like all Sigma Art, with the USB dock.

Another worthy representative of the Art range, more common in portrait: this 85mm has quickly found its audience but remains for a very specific use because of its larger dimensions than the 135mm and a similar weight.

Its image quality is also excellent at full aperture, superior to the vast majority of current 85mm. For about 1100€, you will have the best 85mm for DSLR but, alike the 135mm, it will be intended for a specific and intensive use of portraits.

Nikon took a long time to upgrade its 105mm, which was a reference focal length for the brand in film with the 105mm f/1.8 and f/2.8 AI-S, then with the 105mm f/2D DC with Nikon’s unique Defocus Control system allowing to change the aspect of the foreground/background blurs.

On this 105mm, no unique function but the first aperture at f/1.4 is designed for the most pixelized sensor requirements. The benchmark of the portrait according to Nikon, but with the high-end price of the brand, which is more than 2000€. It keeps for it a more reasonable weight than Sigma’s offers and has an excellent image quality from the full aperture.

Shortly after the release of the Nikon, Sigma released its own version in the Art range: once again they wanted the best possible quality without compromising on the physical characteristics.

A bit cheaper than the Nikon, around 1500€, it delivers a superior image quality but at the expense of portability since it needs a tripod collar (supplied with the lens) because of its wider and longer body and its almost 700g heavier, reason why I decided to rank it a bit lower as the 135mm f/1.8 Art is physically more similar to the Nikon and delivers an image quality one step higher.

Following the 35mm f/1.8 VC USD, Tamron has released this 85mm which enjoys an excellent reputation thanks to certain advantages, like its excellent image quality and its stabilization which come in handy on APS-C or in video.

So, at the risk of repeating myself, it provides excellent image quality at full aperture, better than Nikon and even close to Sigma Art, all in a very good design with waterproof seals. It is also compatible with the Tamron console. Its price, a little over 700€, remains correct. The Nikon version is certainly 250€ less, but with a lower quality, especially at large apertures, and it does not offer stabilization or such a high-quality construction. We can nevertheless reproach its significant weight for an 85mm f/1.8 when the Nikon version weighs only half of it.

The main characteristics of the 5 lenses mentioned above are summarized in the table below.

The alternatives

Between 85 and 200mm, there is a wide choice of lenses. Starting with the 85mm f/1.8G from Nikon, mentioned in the previous paragraph, which delivers a good image quality with a reasonable weight. Samyang recently released an 85mm f/1.4 with AF, which is very light (less than 500g) and about 500€, a very correct price for an f/1.4 aperture, knowing that the Nikon version costs almost 1000€ more. Nikon still offers its “old” 105mm and 135mm f/2D DC, but for their price and given their age, I would rather advise to stick to the recent lenses – unless you know how to correctly use the DC function and don’t expect outstanding performance on very pixelated sensor bodies. Regarding old optics, you also can use the 180mm f/2.8D, which remains efficient and has the advantage of offering a focal length/aperture couple, which is quite rare for a fixed focal length, and relatively reasonable since the only recent alternative would be the 200mm f/2G, costing more than 5000€.

Once again, I wouldn’t recommend the Nikon f/1.4G which, although of good optical quality and serious construction, remains at a price far too high considering its performances – especially if you compared it to the lenses on this list. For its price, you could almost buy the more qualitative Sigma Art version as well as the Samyang AF for a lighter ride, without sacrificing the f/1.4 aperture.

Some will have noticed on the last line of the description of each lens that they often have a minimum focusing distance (at least for focal lengths beyond 85mm), which is around 1m. However, for some portraits, you will sometimes want to isolate a small element to highlight it: like an eye, lips, a tattoo or a birthmark. In this case, these lenses will show their limits. If this is the kind of pictures you are interested in, you will either have to crop strongly, and therefore lose quality, or switch to macro lenses that have a much shorter minimum focusing distance. Some of them are quite recommendable for classic portraits, but keep in mind that they will generally be bigger and heavier than classic lenses with a larger aperture and that they have been designed to capture details as well as it could. They will therefore bring out more easily the imperfections of the skin. Here are below the macro lenses that I would recommend for portraits. I have summarized their characteristics in the table below.

The latest version of the 90mm macro designed by Tamron is excellent, often featured in the best macro lens rankings (including on our blog). It is also very efficient for portrait, with a focal length close to the 85mm (so quite popular with portrait photographers), a stabilization that will prove to be useful for close-up photography or video and all of it offered at a price lower than the 105mm f/2.8G micro from Nikon.

It offers an excellent image quality at full aperture, better than Nikon’s, with a lower weight. If you like doing very close-ups or want to do macro and portrait with only one lens, this one is probably the best option. Otherwise, an 85mm f/1.8 like the Nikon’s one will be more interesting with its larger maximum aperture and its dimensions and weight.

Sigma offers with this 105mm macro a lens very similar to the 105mm macro Nikon, its price being twice cheaper for a very close image quality.

Very famous in the macro world but less in portrait, it does very well in both areas. Like the Tamron and the Nikon, it is stabilized, which will always be an asset for close-ups or in video. Its image and construction qualities are slightly less good than the 90mm Tamron.

Tokina does not offer many fixed focal lengths, but when they do it is often of very high-quality. Their 100mm macro has recently been relooked in order to benefit from the latest treatments and the latest brand design.

Available for “only” 400€, you’ll enjoy an optical quality worthy of the best macros while being light and quite compact, more than the Nikon or even the Tamron/Sigma above. However, the reason why is that it doesn’t include stabilization. For portrait and macro shots on a tripod it won’t be a big deal, but handheld and especially for close-ups, you’ll have to stay very stable.

For those who are looking for a shorter focal length than the eternal 100mm macro, this 60mm from Nikon combines good performance and beautiful design. Its predecessor, the 60mm f/2.8D micro (still sold new), was very famous and this new version is the worthy successor.

This new version integrates an engine for focusing, unlike the old version which will lose the AF on the bodies not equipped with engines (mainly the D3x00/D5x00 and the new Z mirrorless cameras), and proves to be a little lighter. It doesn’t incorporate stabilization either, it will then require good handheld stability under certain conditions.

We had to provide an option for APS-C DSLR users, and this one is probably the best. One of the few fixed focal lengths Nikon has deigned to produce for this sensor size, it has however not much to envy its big brothers for full frame.

Compact, light and relatively affordable (just over 300€), it can even be preferred to the 35mm of the range since it covers a close focal length, with a smaller aperture but a much closer focusing distance.

Here is what you should remember about the lenses mentioned above.

The alternatives :

Although I have regularly mentioned the 105mm f/2.8G micro from Nikon, I will not recommend it since the lenses listed here are at least as good, often lighter and all of them less expensive. For APS-C bodies, Nikon offers an 85mm f/3.5 DX micro of good quality but with a smaller aperture than the 90/100/105mm Sigma and Tamron for the same price. The unstabilized version of the Tamron 90mm f/2.8, on the other hand, is to be considered, being of very good quality and cheaper (less than 400€) than the recent one.

There are many other macro lenses, such as those offered by Laowa and Samyang, but these are all manual and therefore more oriented macro than portrait. I quickly give you below the list of manual focus lenses more adapted to portrait.

As always, the Carl Zeiss win the top of the best lenses rankings, whether it is the 55mm f/1.4 Otus, the 50mm f/1.4 Milvus, the 85mm f/1.4 Otus and Milvus or the 135mm f/2 Sonnar, but at extremely high prices. If you are looking for more affordable manual lenses, you will find a large choice at Samyang with 35, 50 and 85mm f/1.4 manual as well as a 135mm f/2 which is capable of competing with the Zeiss for a third of the price. Thanks to the compatibility of the F-mount since the 70’s, you will also be able to find second hand famous lenses at unbeatable prices, such as the 105mm f/1.8 and f/2.5 AI/AI-S, the 135mm f/2 and f/2.8 of the same range, the 35, 50 and 85 (especially the 50mm f/1.2, always sold new, and the 85mm f/2).

Recently, Nikon has started producing mirrorless cameras. They took advantage of this new development to create a new optimized mount, the one for DSLRs not being relevant enough on mirrorless bodies anyway. Thus, they have to redesign a whole optical range for their new camera, although F-mount lenses are still adaptable with a ring (beware, the old F-mount AF/AF-D lenses lose their AF, mirrorless cameras and adapter rings do not have a motor to drive the focus).

Native lenses in this mount being therefore quite rare, here are a few references that you can find for a portrait use. They are summarized in the table below.

In my opinion, here are the 6 ideal portraits lenses from Nikon for mirrorless cameras:

1. Nikon Z 85mm f/1.8 S
2. Nikon Z 50mm f/1.8 S
3. Nikon Z 35mm f/1.8 S
4. Nikon Z 24-70mm f/2.8 S
5. Nikon Z 24-70mm f/4 S
6. Nikon 70-200mm f/2.8 S VR

You can find more details on all these lenses (and others) in our article on the best current Nikon Z lenses.

Nikon couldn’t miss the 85mm focal length. Being part of the S-line, it is a lens that is meant to be high-end.

Performances are excellent, superior to the DSLR version’s ones, but we could not expect less given the difference in optical formula and its influence on the dimensions and weight of the lens, this one being indeed 120g bigger. As a new feature, it also exceeds its DSLR ancestor on the price since it is around 900€.

Standard focal length in full frame, this 50mm f/1.8 is one of the first 3 lenses released by Nikon with its mirrorless cameras.

Its performances are very good, once again superior to the DSLR version but with a higher optical design and physical characteristics since it weighs 225g more than its ancestor. And as you can imagine, its price is also higher: around 550€.

The 35mm is a focal length much appreciated by portrait and street photographers, wider than the 50mm in order to integrate more context.

This lens is a bit difficult to use at larger apertures, at least associated with a very pixelized sensor, but it delivers excellent performance afterwards. We could almost say that the more the lenses have gained weight, the better they are than their ancestors, since the difference in quality with the DSLR version is less noticeable than for the 50 and 85mm (this 35mm is the one having gained the least weight (70g)). However, many portrait photographers like wedding photographers appreciate the 35-85mm couple, sometimes more than the 50mm alone.

The ultimate zoom for reportage and weddings, covering everything from landscape photography, architecture to intimate portraits, is of course part of Nikon’s S-line.

A top-of-the-range zoom, it is around 2000€ and is primarily aimed at professionals. Its image quality is exceptional, and it integrates a screen displaying information on focus distance, focal length and depth of field as well as an assignable shortcut button and a ring allowing to control the aperture or correct the exposure without noise (for video).

First zoom of the Z range, it is proposed in kit with the bodies, or alone for about 900€. If you plan to buy a Z mirrorless camera and you are interested in this lens, you’d better buy it in kit because, as often in this case, you will save a little money.

It delivers a lower image quality than the f/2.8 version, which is not unusual considering the difference in standing, although this f/4 is also supposed to be in the S-line. It is still of very good quality, light and rather compact. The corners will suffer a little at the largest aperture, but in the center and at the other apertures it is very good.

The brand new 70-200mm from Nikon, a popular zoom lens for sports and portrait, is finally available in Z-mount. Like the 24-70mm f/2.8, it is the top of the range of this brand and is available for over 2500€. In other words, once again, it’s not a lens for everyone.

For now, there hasn’t been a lot of testing, but there is no doubt that it should be up to the f/2.8E DSLR version released recently which has been unanimously acclaimed. We can possibly reproach, compared to its competitor Canon, its weight and its important dimensions due to its design with a constant footprint since it does not fold, unlike the Canon.

Here are the 6 lenses summarized below.

We also wrote a comprehensive guide about the best Nikon Z telephoto lenses.

Some manual lenses are also already available in this mount, like the 85mm f/1.4 Samyang or the elegant Kipon such as the 50 and 75mm f/2.4. By the way, I wrote a full page, that I keep up to date, mentioning all the lenses for the Nikon Z mount. You will find all the Nikon Z lenses and the great majority of third-party brands offering lenses for the Nikon Z mount.

I hope that this article about the best Nikon portrait lenses, both for DSLR and mirrorless cameras, will help you make your choice more easily. Please keep in mind that since the article is titled “the best”, most of the lenses listed and detailed are quite high-end but the ones listed as alternatives, more affordable, are very good lenses as well.

If you know other alternatives deserving to be listed or simply want to give your opinion on one of those listed, share it with us in the comments.

Good shots to you all!

Sylvain