These are the best Nikon lenses for documentary photography, chosen for how they balance speed, stealthy size, reliable autofocus (or tactile manual throws), weather sealing, and neutral color that grades cleanly under mixed light—mixing modern Z-mount staples with F-mount workhorses via FTZ. Documentary is about readiness and trust: glass you’ll carry all day, zooms that cover the story without swaps, fast primes for dim interiors, and optics that keep files consistent from sunrise markets to midnight streets. On Z full-frame, build your spine with the NIKKOR Z 24–120mm f/4 S as the one-lens assignment champ—close focus, calm distortion, consistent rendering—and the NIKKOR Z 24–70mm f/2.8 S when speed and prime-like sharpness matter; add the Z 14–30mm f/4 S for rectilinear scenesetters and tight rooms, and the Z 70–200mm f/2.8 S for compressed moments across the street or stage (teleconverter-ready for reach). Low-light anchors are the S primes: Z 35mm f/1.8 S and Z 50mm f/1.8 S for cafes and interiors with quiet AF and tidy flare control, Z 24mm f/1.8 S for layered wides that stay honest, and Z 85mm f/1.8 S for intimate portraits with smooth falloff; when depth and cinematic separation are the brief, the Z 135mm f/1.8 S Plena is shockingly clean yet creamy. Travel-light kits can lean on the pocketable Z 28mm f/2.8 and Z 40mm f/2, while the Z 17–28mm f/2.8 and Z 28–75mm f/2.8 pair as a compact f/2.8 duo for day-to-night coverage. For quiet detail and product cut-ins, the Z MC 105mm f/2.8 VR S delivers flat-field sharpness and polished bokeh; for video-heavy docs, S-line lenses offer minimal breathing and near-silent focus, with IBIS + VR smoothing handheld drift. Z DX shooters get a featherweight documentary kit in the Z DX 12–28mm PZ VR (power-zoom walk-throughs), Z DX 16–50mm VR (surprisingly crisp midrange), Z DX 50–250mm VR for reach, and the fast Z DX 24mm f/1.7 for clubs and kitchens; Viltrox 23/33/56mm f/1.4 Z add affordable speed and quiet AF. Via FTZ, F-mount legends remain budget-savvy: AF-S 24–70mm f/2.8G/E and 70–200mm f/2.8G/FL for event spines, AF-S 16–35mm f/4G VR for filter-friendly wides, AF-S 20/24/28mm f/1.8G and 35/50/85mm f/1.8G for clean, fast primes that pack small; the AF-P 70–300mm VR (FX or DX) is a silent, quick tele sleeper for discreet distance work. Image priorities that make these “best” in the field are consistent: dependable, quiet AF that nails eyes without hunting, modest focus breathing for elegant video pulls, coatings that hold contrast under neon or backlight, restrained CA so white shirts and window edges stay clean, and sensible front threads for cheap CPL/ND/diffusion; weather sealing and fluorine fronts help when the story moves through rain, dust, or kitchens. Technique turns versatility into keeper rates—map AF-ON and eye/face detection, set Auto ISO with a minimum shutter (1/500 for motion, 1/250 for general), ride exposure comp to protect highlights, keep hoods on to guard contrast, and standardize filter sizes with step-ups; for audio-friendly sets, slow AF speed/sensitivity for graceful transitions and run an off-camera mic; for stills, live around f/2–f/4 indoors and f/4–f/8 outside, and think in pairs (one wide, one short-tele) to avoid lens swapping. A practical kit recipe is simple: Z FX two-body coverage—24–70/2.8 S + 70–200/2.8 S with 14–30/4 S for scenesetters and 35/1.8 S or 50/1.8 S for nights; travel-light—24–120/4 S as your spine with 28/2.8 or 40/2 for after-dark; DX roam—12–28 PZ VR + 16–50 VR + 24/1.7; FTZ value—16–35/4 VR + 24–70/2.8 + 70–200/2.8 with 35/1.8G and 85/1.8G in pockets. Whether you’re filing from markets at dawn, council halls at noon, rain-soaked streets at blue hour, or living rooms after midnight, the best Nikon documentary lenses deliver flexible framing, quiet, predictable handling, and clean, consistent files that make real life look intentional and immediate straight out of camera.