The Nikon ZR is enough to make you see red, in a good way. This ‘baby’ cine camera is wonderfully compact and lightweight for go-anywhere shooting, yet packs Red Color Science and a variety of groundbreaking features. For moving pictures, it’s a force to be reckoned with and is the first dedicated cine camera based on Nikon’s acquisition of the legendary cinematography company, Red.
For me, one of the most exciting things about the Nikon ZR is that it features the Z-system lens mount. I’ve been constantly impressed by the image quality and all-round performance of Z-mount lenses, and I strongly feel that they’re generally in a whole different ballpark to the older F-mount lenses – making the most of the Z system's larger-diameter mounting flange and its closer proximity to the camera's image sensor.
Another upside is that most Z-mount lenses are highly suitable for shooting video as well as stills, and are designed with video at least partly in mind. For example, they're usually engineered to minimize focus breathing. Ultimately, choosing the best lenses for the Nikon ZR isn’t entirely straightforward.
Given the compact and lightweight nature of the ZR body, I feel it’s only natural to go for lenses that aren’t big and heavy, thus enabling a well-balanced camera outfit. You also don’t really need lenses with the ultimate in resolving power, more suitable for ultra-high-res 45MP cameras like the Nikon Z8 and Nikon Z9.
With that in mind, I’ve gone for lenses that work really well for cinema, but are manageable and mostly very budget-friendly.
Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear, particularly for Nikon – his preferred personal camera system. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners!
The Quick List
Nikon's first full-frame Z-mount video lens is a must-have for the ZR. Read more below…
The ‘Generation 2’ of this superb Tamron lens takes everything up a notch. Read more below…
The original and, for me, still the best choice of Z-mount wide-angle zooms. Read more below…
Simply stellar for weddings, events and any time you need a tele zoom. Read more below…
The moderate wide-angle perspective of this lens often comes up trumps, and it's designed with video firmly in mind. Read more below…
It’s fast, features dual customizable control rings and has great handling. Read more below…
The best lenses for the Nikon ZR
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Best video zoom for the Nikon ZR
This lens launched about a year after Nikon’s acquisition of Red, as the company's first ever full-frame cine lens. It naturally makes perfect pairing for the ZR body. Highlights include a power zoom facility for silky-smooth transitions, with no less than 11 speeds on the menu.
The 28-135mm zoom range itself offers fabulous versatility, stretching from generous wide-angle coverage to intimate telephoto reach. And it’s backed up by a constant f/4 aperture rating throughout the entire zoom range.
From the square hood at the front to the distinctive gold band at the rear, the lens looks every inch a serious cine optic. Handling is a dream, with plenty of direct-access switches and customizable function buttons, a rocker switch for the 11-speed motorized zoom, and the obligatory geared control rings.
Up-market glass includes three ED (Extra-low Dispersion) elements, one aspherical element, and a further four aspherical elements, along with high-tech Meso Amorphous Coat to combat ghosting and flare. Image quality and overall performance are absolutely top-notch.
Read more: Nikon Z 28-135mm f/4 PZ review
Features ★★★★☆ | Top features include smooth and near-silent stepping motor based autofocus and zoom mechanisms, although there’s no dedicated, marked aperture ring nor optical stabilization. |
Design ★★★★★ | It’s remarkably compact and lightweight for a cine lens, ideal for run and gun videography, documentaries, weddings and more besides. |
Performance ★★★★★ | Image quality is excellent and the performance of the motorized zoom and autofocus is also top-notch. |
Value ★★★★☆ | It’s very good value for a cine lens but you couldn’t call it inexpensive! |
Best standard zoom for the Nikon ZR
You can't beat a standard zoom lens for versitility in everyday shooting. Nikon liked the original release of this lens so much that it made its own version with a Nikon badge on it. However, the OG Tamron lens was never made in Nikon Z mount, only in Sony E mount. The ‘Generation 2’ Tamron comes in both flavors and is a significant upgrade.
A new optical layout increases resolution and all-round image quality, the autofocus system is twice as fast, there’s more tactile feedback from the zoom and focus rings, and a customizable function button has been added. Suffice it to say that image quality, all-round performance and handling are all improved.
That’s all great news, but what made the original Tamron (and Nikon) lens such a hit remains just as attractive in the G2 edition. The fast and constant f/2.8 aperture rating makes this a viable alternative to a ‘trinity’ standard zoom and while it doesn’t go quite as wide-angle as a 24-70mm lens, you gain marginally more telephoto reach.
And the best bit is that it’s comparatively compact, lightweight and affordable, in relation to typical trinity standard zooms.
Read more: Tamron 28-75mm f/2.8 Di III RXD G2 review
Features ★★★★★ | This alternative ‘trinity’ f/2.8 standard zoom features a voice-coil autofocus system and customizable L-fn button. |
Design ★★★★★ | Build quality feels very robust and features extensive weather-seals, although optical stabilization is omitted. |
Performance ★★★★★ | Levels of sharpness are excellent throughout the zoom range, although there’s a reliance on automatic in-camera corrections for color fringing and distortions. |
Value ★★★★★ | It’s much less expensive than typical ‘trinity’ standard zooms and top value for money. |
Best wide-angle zoom for the Nikon ZR
I liked this compact ultra-wide-angle zoom lens so much when it was originally launched, that I went straight out and bought one. I've never regretted that decision, not even for a moment.
Nikon has released two more ultra-wide zooms since this one – the Nikon Z 14-24mm f/2.8 S and the Nikon Z 17-28mm f/2.8 – but I think the Nikkor Z 14-30mm f/4 S is still the best wide-angle choice for the ZR.
Along with its narrower f/4 aperture rating, it has a space-saving retractable design. For me, that makes it easier to pack and easier to live with. I also like that the longer maximum focal range adds versatility and reduces the number of times I need to switch between lenses.
It doesn’t hurt that image quality and all-round performance are both excellent. Corner-to-corner sharpness is impressive, and it also comes with a lens hood that you can remove to add filters via an 82mm attachment thread. This is an unusual feature in an ultra-wide-angle lens, but a godsend for shooting video.
Read more: Nikon Z 14-30mm f/4 S review
Features ★★★★★ | The removable hood enables easy use of filters, and there’s a lot of up-market glass and Nano Crystal Coat. |
Design ★★★★★ | Stowage size is kept to a minimum thanks to a neat retractable design. An A/M focus mode switch is also fitted. |
Performance ★★★★★ | The lens delivers superb sharpness and clarity, right out to the extreme edges and corners of the frame. |
Value ★★★★★ | It’s great value for such a high-performance lens, if you don’t feel the need for a ‘trinity’ f/2.8 zoom. |
Best telephoto zoom for the Nikon ZR
I'm not going to try to pretend that a 70-200mm f/2.8 is a classic 'trinity' lens for professional photographers. However, like other examples of the breed, the Nikon Z 70-200mm f/2.8 VR S is big, heavy, and very expensive.
I love that the Nikon Z 70-180mm f/2.8 is much more compact, lightweight and affordable, yet it matches its larger sibling for a constant f/2.8 aperture rating and delivers almost as much zoom range.
I was originally worried that the lens' lack of optical image stabilization would hamper handheld shooting, but I've found that it works really well with in-camera stabilization. And let's face it, in-body stabilization is pretty epic in the ZR. I've used this lens for many shoots in low lighting conditions and it's come through with flying colors every time.
It's a great lens for wedding, event and social photography, and I can honestly vouch for it, having shot several weddings with the lens over the last couple of years. I've been constantly impressed with its blend of excellent sharpness and beautifully smooth bokeh. The delighted reactions from my clients when they see the picture quality is the ultimate proof.
Read more: Nikon Z 70-180mm f/2.8 review
Features ★★★★☆ | The feature set is very good overall but there’s no optical VR nor any L-fn buttons. |
Design ★★★★★ | Compared with 70-200mm f/2.8 telephoto zooms, this lens is wonderfully compact and lightweight. |
Performance ★★★★★ | Sharpness is excellent and the quality of bokeh is gorgeous. It’s an absolutely standout ‘alternative trinity’ zoom. |
Value ★★★★★ | It’s certainly not a cheap lens but is nevertheless only about half the list price of the Z 70-200mm f/2.8. |
Best wide-angle prime for the Nikon ZR
I love the perspective that I get using a 35mm lens. This Nikon Z 35mm f/1.4 delivers that classic focal length with a fast aperture, which is actually two-thirds of an f-stop faster than the pricier 35mm f/1.8 S-line lens.
It feels solid and well-constructed, yet surprisingly compact and lightweight for an f/1.4 prime. Sharpness is excellent, even when shooting wide open, rolling off to beautifully smooth bokeh in defocused areas within a scene.
I'm very fond of using this lens for street scenes and environmental portraits, as well as landscapes, cityscapes, architectural shoots and even close-up work. The fast f/1.4 aperture not only delivers on beautiful bokeh but also excels for shooting in low-light situations.
Autofocus performance is swift, silent and accurate, ensuring that you can capture sharp images even when shooting fast-moving subjects. The manual focus ring is smooth and precise, allowing for fine-tuning when needed.
Nikon calls this lens a classic for shooting video and I'd agree wholeheartedly. It's actually designed to perform equally well when shooting video as capturing stills. All in all, it's a super little lens that's a perfect fit for the Nikon ZR
Read more: Nikon Z 35mm f/1.4 review
Features ★★★★☆ | The feature set is pretty modest, without an AF/M focus mode switch nor any ED glass. |
Design ★★★★☆ | It’s fairly small and lightweight for an f/1.4 prime, but includes a secondary control ring. |
Performance ★★★★★ | Image quality is very satisfying although there’s the typical dependence on in-camera correction for distortion |
Value ★★★★☆ | It’s good value for an own-brand Nikon f/1.4 prime. |
Best standard prime for the Nikon ZR
I raised an eyebrow when Nikon launched the Z 50mm f/1.8 S as one of the first ever Z-system lenses, giving upmarket S-line credentials to a prime that ‘only’ had an f/1.8 aperture rating. As soon as I tried it, I was won over with its quality and all-round performance, but still hankered for that faster f/1.4 aperture.
This lens obliges, while also adding a secondary customizable control ring. I find that’s most useful for stepless aperture control when shooting video, which this lens does superbly well.
The lens actually scooped an EISA award for 'best buy lens' in 2025-2026, so I'm not the only one to really rate it. Nikon bills it as a 'video prime' that's a natural fit for gimbals and cages, saying that it also gives an ideal perspective for interviews and first-person shooting.
Although aimed at ‘content creators’, the lens is equally adept at stills as well as video. It doesn’t have an auto/manual focus mode switch but I’m not really bothered. Edge/corner sharpness isn’t the best but I’ve found that the lens is able to do full justice to the resolving power of ZR. The relatively compact, lightweight build make it a great fit.
Read more: Nikon Z 50mm f/1.4 review
Features ★★★★☆ | Top of the feature list is the fast f/1.4 aperture and the lens has dual customizable control rings. |
Design ★★★★☆ | It looks and feels a little basic, with no A/M focus mode switch, but the build includes weather-seals. |
Performance ★★★★☆ | It’s not one of Nikon’s up-market S-line lenses, but performance combines good sharpness and nice bokeh. |
Value ★★★★★ | The lens is excellent value for a 50mm f/1.4, undercutting the list price of the Z f/1.8 version. |
Lab data and comparisons
The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. I’m used to seeing stellar lab results for sharpness from all Nikon Z-system lenses and the ones in this group follow suit.
The Nikon Z 14-30mm doesn’t look quite so impressive, but that’s more to do with having to shoot lab test charts at extremely close range with ultra-wide-angle lenses. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.
Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.
Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.
How to choose the best Nikon ZR lenses
Which lenses fit the Nikon ZR?
The ZR uses the Nikon Z mount and is compatible with all lenses designed for that mount. Nikon’s own Z-mount lenses all have Z at the start of their model names.
Some Z-mount lenses are designed for use with APS-C format cameras rather than full-frame cameras, such as the Z6 series. Nikon lenses that fall into this category have DX as part of their model names. While they physically fit, these lenses produce a cropped image, so they’re not ideal. None of the lenses in this guide is a DX-format lens.
If you are buying a third-party lens, always check that it is designed for full-frame (or FX) Nikon Z cameras, rather than APS-C (or DX) Nikons.
How do I know which lens to get?
The reason there are so many types of lens in the first place is that different scenes demand different lens designs, particularly when it comes to focal length and aperture rating.
Usually, you will decide what you want to photograph, then get a lens with the focal length that suits the situation. For example, to shoot landscapes you will need a wide-angle lens, while for sports and wildlife you will need a telephoto.
You can watch this video that explains focal length: it helps you work out what kind of lenses you need for different genres of photography.
How we test lenses
The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.
We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.
There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).
We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.
Find out more about how we test and review on Digital Camera World
