These are the best Nikon lenses for low light, chosen for how they combine fast apertures, disciplined flare and coma control, confident autofocus (or long, silky manual throws), and stabilization that keeps shutters sensible on modern Z bodies (with IBIS) and F-mount DSLRs via FTZ. Low light is about two levers—speed and steadiness—plus optics that keep point lights clean and skin tones neutral under neon and mixed LEDs. On Z full-frame, start with the NIKKOR Z 50mm f/1.2 S and Z 85mm f/1.2 S for flagship subject separation and sticky eye-AF; add the Z 35mm f/1.8 S and Z 24mm f/1.8 S for fast wide-normal coverage with tidy corners and strong flare control, and the Z 20mm f/1.8 S when astro/blue hour demands more sky; budget/night-walk kits shine with the pocketable Z 40mm f/2 and Z 28mm f/2.8, which focus quietly and stay crisp at working apertures. For the ultimate manual-speed look, the NIKKOR Z 58mm f/0.95 S Noct delivers maximal light and painterly falloff for deliberate night portraits and city scenes. Zooms that still win after dark include the Z 24–70mm f/2.8 S (prime-like sharpness, minimal breathing), Z 17–28mm f/2.8 (interiors, night streets), Z 28–75mm f/2.8 (lightweight event work), and Z 70–200mm f/2.8 S for indoor sports and receptions—each pairing lens VR (where present) with IBIS for slower shutters and steadier video. Z DX shooters get compact speed in the NIKKOR Z DX 24mm f/1.7 (a ~35mm-equiv night normal) and excellent third-party AF primes like the Viltrox 23/33/56mm f/1.4 Z trio for cafés, portraits, and street; the stabilized Z DX 16–50mm and 50–250mm help when you must zoom. Adapting F glass via FTZ unlocks low-light legends: AF-S 105mm f/1.4E (velvety compression), AF-S 85mm f/1.4G and 85mm f/1.8G (creamy, reliable), AF-S 58mm f/1.4G (dreamy transitions), AF-S 50mm f/1.4G/1.8G (budget normals), and AF-S 35mm f/1.4G for classic reportage; for ultra-fast wides and value, Sigma/Tamron 24/35/50mm f/1.4 (Art/SP) in F-mount adapt beautifully and focus confidently. Image priorities that make these “best” after dark: large entrance pupils (f/1.2–f/1.8) for workable shutter/ISO, coatings and optical design that restrain sagittal coma and LoCA so off-axis lights don’t sprout wings or color fringing, quiet AF for video, and sensible front threads for inexpensive diffusion/ND; IBIS + VR synergy buys stops for hand-held ambience, while stabilized macros like the Z MC 105mm f/2.8 VR S render polished, non-distracting blur for moody detail. Technique seals the look—start people at 1/125–1/250 with Auto ISO, open to f/1.2–f/2.8 depending on distance, use eye-detect AF and magnified checks for manual lenses, protect highlight signage then lift shadows, and brace or lean to let IBIS work; for video, set a 1/50–1/125 “cinema” shutter, ride ISO with a variable ND, and favor the S primes/zooms for quiet focus and modest breathing. A practical low-light kit recipe: on Z FX, pair 35/1.8 S + 50/1.2 S (add 85/1.2 S for portraits and 20/1.8 S for night streets/astro) and keep 24–70/2.8 S for events; on Z DX, run 24/1.7 with Viltrox 56/1.4 and the 16–50 VR; via FTZ, build 35/1.4G + 50/1.4G (or 1.8G) + 85/1.8G and sprinkle in 105/1.4E or Sigma/Tamron 35/1.4 for speed. Whether you’re shooting candlelit dinners, neon-washed alleys, receptions under mixed LEDs, or handheld cityscapes at blue hour, the best Nikon low-light lenses deliver speed, flare discipline, and rendering grace that make nocturnal scenes look vivid, clean, and intentionally cinematic straight out of camera.