These are the best prime lenses for sports photography when you want blistering AF, reliable subject tracking in bad light, weather-tough builds, and optics that stay sharp wide open—whether you’re courtside, rink-level, trackside, or on the touchline—and here’s what to look for as you buy: prioritize fast apertures and motors (ƒ1.4–ƒ2 for indoor/close; ƒ2.8–ƒ4 for field tele), linear/STM/SSM motors with focus limiters and memory recall buttons, strong wide-open contrast with controlled LoCA on sweaty highlights, robust stabilization that plays nice with IBIS, minimal focus breathing if you film, and practical ergonomics (drop-in filters on big whites, balanced collars, programmable Fn); choose lenses that accept matched 1.4×/2× teleconverters, and favor sealed designs with carbon hoods for rain days. Full-frame pit-to-sideline heroes: short tele/indoors—Sony FE 85mm ƒ1.8 / ƒ1.4 GM, FE 135mm ƒ1.8 GM; Nikon Z 85mm ƒ1.8 S, Z 135mm ƒ1.8 Plena; Canon RF 85mm ƒ2 IS / RF 85mm ƒ1.2L, RF 135mm ƒ1.8L IS; Sigma 105mm ƒ1.4 Art and 135mm ƒ1.8 Art (punchy “bokeh masters”). Field tele primes—Sony FE 300mm ƒ2.8 GM OSS, FE 400mm ƒ2.8 GM OSS, FE 600mm ƒ4 GM OSS; Nikon Z 400mm ƒ2.8 TC VR S (built-in 1.4×), Z 600mm ƒ4 TC VR S, Z 400mm ƒ4.5 S and Z 600mm ƒ6.3 PF (featherweight reach); Canon RF 400mm ƒ2.8L IS and RF 600mm ƒ4L IS (with RF 1.4×/2×), RF 600mm ƒ11 / RF 800mm ƒ11 (budget daylight reach); classic DSLR options still shine via adapters—Canon EF 200mm ƒ2L IS, EF 300mm ƒ2.8L IS II, EF 400/2.8L, EF 500/4L, Nikon AF-S 300mm ƒ2.8G VR II, 400/2.8, 500/4, 600/4. Specialty sidelines: 200mm ƒ2 class (EF/Nikon) for dreamy indoor arena compression; compact tele primes like Nikon 300mm ƒ4E PF and Z 400mm ƒ4.5 S for long walk days. APS-C standouts (or second bodies on the belt): Sigma 56mm ƒ1.4 DC DN (indoor hoops/volleyball), Sigma 90mm ƒ2.8 DG DN C (light, sharp), Sony E 50mm ƒ1.8 OSS and 35mm ƒ1.8 OSS for closer baseline work; Fujifilm XF 90mm ƒ2 (135-eq punch) and the XF 200mm ƒ2 OIS (pro arena beast); RF-S shooters can run RF 85/2 IS, RF 135/1.8L IS, or the RF 600/800 with crop for extra reach. Micro Four Thirds picks that punch above size: OM SYSTEM 300mm ƒ4 IS Pro (600-eq with Sync IS), Panasonic Leica 200mm ƒ2.8 OIS (400-eq with razor AF), and OM 90mm ƒ3.5 Macro IS PRO for tight detail on gear between plays. Practical buyer tips: build a two-prime spine you trust—(135/1.8 for indoor portraits/action + 400/2.8 for field play) or (85/1.8 + 300/2.8) depending on venue; standardize drop-in ND/clear filters on big teles and keep a monopod with a quick top—your wrists will thank you; confirm TC compatibility and AF performance before game day; skip CPLs (they blotch turf/jerseys and cut light); map focus limiters and recall buttons for near/far plays; carry rain covers, silica, and extra hoods. Field technique that lands keepers: shoot AF-C with subject tracking/expand zones, back-button focus, and a sensible shutter floor—~1/1000–1/2000s for field sports (1/3200s for baseball bat-ball, 1/2000s for soccer headers), ~1/500–1/1000s for indoor court; work near wide open for subject pop, then stop 1/3–2/3 stop if you need a touch more DOF; use anti-flicker under LEDs, prefer mechanical shutter to avoid PWM banding, and pre-focus on lanes or the crease; pan smoothly for motorsports at 1/60–1/250s and shoot bursts to land a tack helmet with streaked backgrounds; keep the camera roughly level to avoid unintentional stretch and compose with space for the play to develop; for video, maintain a 180° shutter with ND, enable breathing compensation, set slow AF transitions, and anchor big teles on a monopod or fluid head. Whether you’re tracking sprinters at the finish, freezing a dunk, isolating a striker through traffic, or panning bikes at golden hour, the best prime lenses for sports photography combine speed, reach, weather-tough ergonomics, and teleconverter-friendly optics—so your action frames stay sharp, clean, and decisive.