These are the best prime lenses for nature photography when you want corner-to-corner detail, honest geometry, rich color, and flare resistance for low sun—whether you’re hiking alpine ridges, threading forests, stalking shorebirds, or chasing intimate landscapes—and here’s what to look for as you buy: prioritize sharp, rectilinear optics with disciplined lateral/longitudinal CA, strong micro-contrast at working apertures (ƒ4–ƒ11), reliable weather sealing and gaskets, smooth manual focus with a long throw for critical landscapes, quiet linear/STM AF for wildlife, and a filter plan that fits your style (front 67/77/82mm for CPL/ND/grads; square systems or rear gels for bulged fronts); consider a three-prime spine—wide (14–24mm) for vistas, standard (35–55mm) for natural perspectives, and tele (85–300mm) for compression and wildlife—with a macro around 90–105mm for textures and flora. Full-frame prime heroes (landscapes to wildlife): wide/ultra-wide—Sony FE 14mm ƒ1.8 GM (disciplined corners, night-capable), FE 20mm ƒ1.8 G and FE 24mm ƒ1.4 GM (threaded, punchy contrast), Nikon Z 20mm ƒ1.8 S and Z 24mm ƒ1.8 S (neutral color, tidy edges), Canon RF 16mm ƒ2.8 (pocket ultrawide) and RF 24mm ƒ1.8 IS (stabilized foreground anchors), Sigma 14/20/24mm ƒ1.4 DG DN Art (modern coatings, consistent look), Laowa 12mm ƒ2.8 and 15mm ƒ2 Zero-D (manual “straight-line” specialists); standard/short tele—Sony FE 35mm ƒ1.4 GM, FE 50mm ƒ1.4/1.2 GM, Nikon Z 35/1.8 S and Z 50/1.8 S, Canon RF 35/1.8 IS and RF 50/1.2/1.8, Sigma 35/50/65mm (65/2 DG DN has gorgeous micro-contrast); macro and detail—Sony FE 90mm ƒ2.8 Macro G OSS, Nikon Z MC 105mm ƒ2.8 VR S, Canon RF 100mm ƒ2.8L Macro IS, Sigma 105mm ƒ2.8 DG DN Macro (all flat-field, razor detail); wildlife/tele compression—Sony FE 135mm ƒ1.8 GM (velvet falloff for animal-scapes), Sigma 135mm ƒ1.8 Art, Canon RF 135mm ƒ1.8L IS, classic 200mm ƒ2.8 primes (Canon/Nikon) for light packs, and PF/DO specialties like Nikon AF-S 300mm ƒ4E PF VR for featherweight reach. APS-C picks for nimble kits: Sony E 11mm ƒ1.8 and E 15mm ƒ1.4 G (sharp, threaded), Sigma 16/23/30/56mm ƒ1.4 DC DN (legendary value), Sony E 35/1.8 OSS and 50/1.8 OSS (stabilized classics), Fujifilm XF 14mm ƒ2.8 (low-distortion legend), XF 16/1.4 and 18/1.4 (close-focus foregrounds), XF 23/33/56mm ƒ1.4 LM WR (quiet linear AF), XF 90mm ƒ2 (tele compression), and macro anchors like XF 80mm ƒ2.8 OIS. Micro Four Thirds standouts that punch above size: OM SYSTEM 8mm ƒ1.8 Fisheye Pro (defish for creative lines), 12mm ƒ2 and 17/25/45mm ƒ1.8 (tiny travel trio), 17/25/45mm ƒ1.2 Pro (rounded sunstars, weather-sealed), Olympus 60mm ƒ2.8 Macro and OM 90mm ƒ3.5 Macro IS PRO (2× with Sync IS), Panasonic Leica 10–25mm ƒ1.7 used at set focal lengths (zoom-prime feel) and 42.5mm ƒ1.2 Nocticron for tele glow. Practical buyer tips: standardize front diameters for one high-quality CPL (tame glare on leaves/wet rock—use lightly on ultrawide skies) and a set of solid NDs (3/6/10-stop) for water/cloud motion; chase primes with robust hoods and nano coatings for sunrise/sunset; if you stitch panos, pick lenses with even illumination and minimal wave/moustache distortion and learn the entrance pupil; for wildlife on primes, pair a fast 135–200mm with a lightweight teleconverter-capable body or carry a compact tele prime (PF/DO) as your “reach” anchor; if your body lacks IBIS, bring a compact carbon tripod. Field technique that keeps nature tack-sharp and dimensional: shoot golden/blue hour for balanced sky-to-land ratios, keep the camera roughly level to protect horizons, build depth with a foreground anchor near the central third (flowers, driftwood, granite), and stop to the sweet spot (often ƒ5.6–ƒ8; ƒ11 for stronger sunstars—watch diffraction on high-MP sensors); focus slightly beyond the foreground anchor or bracket focus for near-to-far sharpness, use a sturdy tripod and 2-sec timer/remote, and disable IBIS/IS when locked down; for long exposures, shield the front element, use 3–10 stop ND, and close the viewfinder to prevent leaks; for wildlife “environmentals,” favor 85–200mm, keep faces near the central third, and lock shutter ~1/500s for movement; for nightscapes, follow NPF, add a slight stop-down for corner discipline, and run a dew heater; lock WB per set for consistent color and overlap generously for stitches. Whether you’re framing tidepool reflections, storm-lit ridges, quiet forests, or animals in their habitats, the best prime lenses for nature photography combine low distortion, confident corners, weather-tough builds, and filter-friendly designs—so your horizons stay true, your textures sing, and your wild places feel expansive and alive.