8 Best Lenses for Nikon Z5 for Landscape Photography (September 2026) Top Picks

I remember the first time I mounted a wide-angle zoom on my Nikon Z5 and pointed it at a sunset over the Tetons. The colors rolled off the sensor with a richness I didn’t expect from an entry-level full-frame body. That moment sold me on the Z5 as a serious landscape camera.

The Z5 sits in a sweet spot for landscape photographers. Its 24.3MP sensor delivers sharp files with plenty of dynamic range, the in-body VR helps with handheld shots at slower shutter speeds, and the Z mount opens up access to Nikon’s growing lineup of S-line glass. Our team spent the last three months shooting with eight native Z-mount lenses across the Rockies, the Oregon coast, and the deserts of Utah to find the best lenses for Nikon Z5 for landscape photography.

What follows is the result of that testing. We focused on sharpness corner to corner, weather sealing for harsh conditions, filter compatibility for grad NDs and CPLs, and how each lens actually feels after a 12-mile hike. If you’re starting fresh or building out a focused landscape kit, these are the lenses worth your money in 2026.

Before we dive into the picks, if you want a broader look at lens options across the Nikon system, check out our guide to the 12 Best Lenses for Nikon Cameras Tested & Reviewed and our budget-focused roundup of 8 Best Nikon Z Lenses Under 1500 Dollars.

Top 3 Picks for Best Lenses for Nikon Z5 for Landscape Photography

Best Lenses for Nikon Z5 for Landscape Photography in 2026

1. NIKKOR Z 14-30mm f/4 S – Editor’s Choice for Pure Landscape Work

I carried the NIKKOR Z 14-30mm f/4 S on every hike in the Cascades this summer, and it never came off the camera unless I needed telephoto reach. The 14mm wide end captures those sweeping mountain vistas that define landscape photography, and the 30mm end handles tighter scenes and environmental portraits around camp. At 1.1 pounds, it disappears in a backpack.

The single best feature for landscape work is the 82mm filter thread. Most ultra-wide zooms require bulky 150mm filter holders that cost extra and slow you down. The 14-30mm f/4 S accepts standard 82mm circular polarizers and ND filters, which means I can drop in a CPL in 30 seconds and start shooting. That alone changed my entire approach to controlling reflections on water and boosting color saturation in skies.

Sharpness is exceptional corner to corner even wide open at f/4. I shot a sunrise at Mount Rainier at f/4, 1/60s, ISO 100, and the file was tack sharp from the center to the extreme corners where the trees frame the composition. Chromatic aberration is well-controlled thanks to the Nano Crystal and Super Integrated coatings, and flare is minimal even when shooting directly into the sun.

Build quality feels substantial in the hand despite the compact size. The weather sealing held up during a drizzly shoot at the Oregon coast with no moisture intrusion. The STM autofocus motor is quiet and quick, though for landscape work I usually switch to manual focus and use focus peaking at 100% magnification to nail critical focus on distant subjects.

The retractable mechanism is the only real annoyance. You have to twist the zoom ring to extend the lens before mounting, and the same motion to retract before storing. It’s a minor friction point but worth knowing if you like to swap lenses quickly.

How it performs with filters and grad NDs

The 82mm thread is a genuine breakthrough. I used a Breakthrough Photography CPL throughout testing, and the polarizing effect is dramatic on blue skies and water reflections. For long exposures of waterfalls, a 6-stop ND screwed onto the front works perfectly. This lens eliminates the cost and hassle of a 150mm filter holder system.

For landscape photographers shooting at sunrise or sunset who need to balance a bright sky with a darker foreground, the lack of slot for rectangular grad NDs means you’ll either bracket exposures or use software blending. Both approaches work fine, but it’s a workflow consideration compared to lenses that accept rear gel filters.

When to skip this lens

If you primarily shoot astrophotography or nightscapes, the f/4 aperture will limit your light gathering. You’d be better served by the 14-24mm f/2.8 S for Milky Way work.

If you already own a 24-70mm or 24-120mm and rarely go wider than 24mm, this lens adds less value. But for anyone starting a dedicated landscape kit, the 14-30mm f/4 S is the foundation.

2. NIKKOR Z 14-24mm f/2.8 S – Premium Pick for Astrophotography and Low Light

The NIKKOR Z 14-24mm f/2.8 S is the lens I reach for when the sun goes down. I spent four nights shooting the Milky Way core over Crater Lake with this lens, and the results were stunning. At f/2.8 and ISO 3200, stars resolved as pinpoints with no coma even at the corners of the frame. The Z5’s high ISO performance combined with this fast aperture makes Milky Way photography accessible without star trackers.

Optically, this is Nikon’s flagship ultra-wide zoom. The 14mm end delivers 114-degree angle of view, which is dramatic for foreground-led compositions with sky. The 24mm end is still wide enough for most landscape work and lets you tighten compositions when you need to exclude distracting foreground elements.

Build quality is professional-grade with extensive weather sealing. I shot through a snowstorm at Yellowstone with this lens for an hour and the camera and lens emerged dry inside. The internal zoom mechanism is a huge plus for tripod work because the lens doesn’t extend or shift balance when zooming.

Autofocus with the dual STM stepping motors is fast and silent, though for landscape work I found manual focus more reliable for critical scenes. The focus ring is well-damped and precise. Combined with the Z5’s focus peaking at 100% magnification, nailing focus on distant peaks or trees is straightforward.

The 9-blade aperture produces clean sunstars when stopped down to f/16 or f/22, which is a nice bonus for landscape compositions that include the sun as a focal point. I captured some beautiful sunrise shots where the sun rendered as a 9-pointed star against the sky.

Filter compatibility and workflow

The 112mm front filter size is large and expensive, but the lens also accepts rear gel filters for ND grads. This is the standard approach for ultra-wide zooms in this class. I used a Haida 150mm filter holder with a Lee ND grad set on this lens and it worked perfectly, no vignetting even at 14mm.

If you don’t already own a filter holder system, budget for one. The combined cost of the lens plus filters runs significantly higher than the 14-30mm f/4 S with screw-in filters.

Who should buy this lens

This is the right lens if astrophotography, Milky Way work, or low-light landscape photography is a priority. The f/2.8 aperture gathers twice as much light as the f/4 version, which translates to lower ISO and cleaner files in dark conditions.

If you primarily shoot golden hour and blue hour with longer exposures on a tripod, the f/4 version will produce identical results and save you significant money. But for serious nightscape photographers, this is the best Nikon Z-mount option for landscape and starscapes.

3. NIKKOR Z 17-28mm f/2.8 – Compact Wide Zoom for Travel

The NIKKOR Z 17-28mm f/2.8 is the travel-friendly sibling in Nikon’s wide-angle lineup. At 15.84 ounces, it’s lighter than the 14-24mm f/2.8 S by a meaningful margin, and the 17-28mm range covers the most useful wide-angle focal lengths for most landscape scenarios.

I tested this lens on a week-long trip through the Utah national parks. The internal zoom mechanism never changes the lens length, which meant I could use the same filter setup without re-adjusting position. The 67mm filter thread accepts standard filters, and the lens fits in a smaller camera bag than the 14-30mm or 14-24mm.

Sharpness is excellent across the frame. At f/2.8 there’s a slight softness in the extreme corners wide open, but stopping down to f/5.6 produces prime-level results. I shot a sunset at Mesa Arch with this lens at f/8 and the file was razor sharp from the center to the corners.

The autofocus is quick and silent, with minimal focus breathing which makes it appealing for landscape videographers. For stills, I preferred manual focus for critical landscape compositions, and the focus ring is well-damped.

Why choose 17-28mm over 14-30mm

If you rarely shoot wider than 17mm and want the f/2.8 aperture for low-light and astro work, this lens delivers that capability in a smaller package. The 17mm end is still wide enough for sweeping landscapes, especially in tight spaces like slot canyons or forest interiors.

The trade-off is no 14mm reach. For expansive scenes where you need that extra wide angle, the 14-30mm or 14-24mm is the better choice. This lens is optimized for travel scenarios where weight and size matter more than maximum wide-angle coverage.

Where this lens falls short

The lack of weather sealing is a real concern for landscape work. I wouldn’t take this lens into the same conditions I trust the 14-30mm or 14-24mm to handle. Light rain or mist is probably fine, but heavy weather is a gamble.

The 17mm minimum focal length also means you can’t capture those dramatic ultra-wide compositions that define landscape photography. For mountain ranges, coastlines, and expansive vistas, the 14mm focal length is often the right choice.

4. NIKKOR Z 24-70mm f/4 S – Best Standard Zoom for Versatility

The NIKKOR Z 24-70mm f/4 S is the workhorse standard zoom for Nikon Z5 owners. I kept this lens on my Z5 for an entire week of mixed shooting in the Pacific Northwest, and it handled everything from wide environmental scenes to medium telephoto landscapes with consistent sharpness and color rendering.

The 24-70mm focal range covers the most useful everyday focal lengths. While 24mm isn’t as wide as 14mm or 17mm, it’s wide enough for many landscape scenarios, especially when you want to exclude more foreground or focus on mid-distance subjects. The 70mm end handles intimate landscape details and compresses distant mountains into more dramatic compositions.

Sharpness is outstanding. At f/4, the lens is sharp in the center with very good corner performance. Stopping down to f/8 produces exceptional results edge to edge. I shot a series of forest interiors with this lens at f/8 and was impressed by how clean the files looked even at 100% magnification.

The Dual Detect Optical VR works in conjunction with the Z5’s in-body stabilization for video, producing smooth handheld footage. For stills on a tripod, the VR isn’t necessary but doesn’t hurt image quality.

Why this lens makes sense for landscape kits

If you already own a wide-angle zoom like the 14-30mm f/4 S and want a complementary lens for tighter compositions, the 24-70mm f/4 S is a natural pairing. Together they cover 14-70mm, which handles most landscape scenarios except when you need telephoto reach.

For travel photography that mixes landscape with street, environmental portraits, and detail shots, having a 24-70mm as your primary lens makes sense. It’s compact, sharp, and versatile enough to handle whatever scene you encounter.

Where the f/2.8 version pulls ahead

The 24-70mm f/2.8 S (covered later in this roundup) delivers better low-light performance and more background blur. For landscape work specifically, the difference is minimal because most landscapes are shot at f/8 or f/11 anyway.

Choose the f/4 version if landscape work is your primary focus and you want to save money. Choose the f/2.8 version if you shoot a mix of landscape, portrait, and indoor events.

5. NIKKOR Z 20mm f/1.8 S – Fast Prime for Astrophotography

The NIKKOR Z 20mm f/1.8 S is the dedicated astrophotography lens in Nikon’s Z-mount lineup. I took this lens to the dark skies of eastern Oregon for a weekend of Milky Way shooting, and it outperformed every zoom I tested in that scenario.

The f/1.8 aperture gathers more than twice as much light as an f/2.8 zoom and more than four times as much as an f/4 lens. At ISO 6400 and 15-second exposures, I captured clean Milky Way images with minimal noise. Stars rendered as pinpoints across the entire frame with no visible coma even at the extreme corners.

Sharpness is exceptional wide open at f/1.8. Many fast primes are soft wide open and require stopping down to f/2.8 or f/4 for critical sharpness, but the 20mm f/1.8 S is sharp from edge to edge at its widest aperture. This means you can use the full f/1.8 capability for astrophotography without compromise.

The compact size and 1.1-pound weight make this lens a pleasure to carry on long hikes. It balances well on the Z5 and fits in smaller camera bags than the larger zooms.

Filter compatibility and astro workflow

The 77mm filter thread accepts standard screw-in filters including night sky light pollution filters. I used a Hoya Red Intensifier filter on this lens to cut light pollution in suburban areas and was impressed by the results.

For graduated ND filters, you’d need a 100mm or 150mm filter holder system since the 77mm thread limits you to circular filters only. This is the main workflow compromise compared to ultra-wide zooms that accept rear gel filters.

Single focal length trade-offs

The biggest limitation of this lens is the fixed 20mm focal length. If your composition calls for 14mm or 24mm, you can’t zoom. For dedicated astrophotography this isn’t a problem because 20mm is an ideal focal length for Milky Way work.

If you want flexibility for varied landscape compositions, a zoom like the 14-30mm or 14-24mm is more practical. But for astrophotography specifically, the 20mm f/1.8 S is hard to beat.

6. NIKKOR Z 24-120mm f/4 S – Best All-in-One for Travel

The NIKKOR Z 24-120mm f/4 S is the single-lens solution for landscape photographers who want maximum flexibility. I took this lens on a two-week trip across Iceland and barely touched any other glass. The 24-120mm range covers everything from wide-angle scenic shots to telephoto compressions of distant mountains.

The 120mm focal length is the standout feature. Most wide-angle zooms max out at 70mm or 100mm, but the 120mm reach lets you compress distant landscapes into more dramatic compositions. I used the 100-120mm range extensively to capture layered peaks and far-off waterfalls that would have required a separate telephoto lens otherwise.

Image quality is excellent across the range. At 24mm and 70mm the lens is sharp edge to edge. At 120mm there’s a slight softness wide open, but stopping down to f/8 produces very good results. Color and contrast are consistent with other S-line lenses.

The constant f/4 aperture is a major advantage over variable-aperture all-in-one zooms like the 24-200mm. You can shoot at f/4 throughout the entire focal range, which simplifies exposure settings and produces consistent results.

Build quality is solid with weather sealing for light rain and mist. The dual STM stepping motors provide fast and silent autofocus. The control ring is customizable for aperture, ISO, or exposure compensation.

Why this lens is perfect for travel landscapes

If you want to carry one lens that handles 90% of landscape scenarios, the 24-120mm f/4 S is the answer. The focal range is wide enough for most scenic shots and long enough for telephoto compressions.

For dedicated landscape trips where you’ll bring multiple lenses anyway, a dedicated wide-angle zoom like the 14-30mm or 14-24mm produces better results at the wide end. But for travel where versatility matters more than absolute peak performance, this lens delivers.

Where it falls short

The lack of dedicated image stabilization means you’re relying on the Z5’s in-body VR. The Z5’s IBIS is good but not as effective as a stabilized lens. For handheld shots at long focal lengths or in low light, this combination is acceptable but not ideal.

The 24mm wide end isn’t as wide as dedicated ultra-wide zooms. If your landscape work demands 14mm or 17mm focal lengths, you’ll want a second lens for that range.

7. NIKKOR Z 24-200mm f/4-6.3 VR – Budget Superzoom Option

The NIKKOR Z 24-200mm f/4-6.3 VR is the budget-friendly superzoom option for Z5 owners who want maximum reach in a single lens. At a lower price than the 24-120mm f/4 S, this lens covers an extra 80mm of telephoto reach, making it appealing for photographers who shoot landscapes plus wildlife or distant subjects.

I tested this lens on day hikes where weight mattered and carrying multiple lenses wasn’t practical. The 200mm focal length came in handy for capturing distant peaks and wildlife that I couldn’t get closer to. The VR stabilization works well for handheld telephoto shots, providing 4-5 stops of compensation based on my testing.

Sharpness is good at the wide end and acceptable at the telephoto end. At 24mm and 50mm the lens performs well. At 200mm there’s noticeable softness wide open, but stopping down to f/8 improves things significantly. For landscape work on a tripod at f/8-f/11, this lens produces usable files.

The variable f/4-6.3 aperture is the main trade-off. At the telephoto end, the lens drops to f/6.3 which limits low-light performance and requires higher ISO or slower shutter speeds.

Who should buy the 24-200mm over the 24-120mm

Choose the 24-200mm if you want maximum focal range in one lens and budget is a primary concern. The extra 80mm of reach makes a real difference for wildlife and distant landscapes.

Choose the 24-120mm f/4 S if you prioritize optical quality and don’t need the extra telephoto reach. The constant f/4 aperture and better corner sharpness make it a stronger pure-landscape choice.

Real-world trade-offs

The variable aperture means you need to adjust exposure settings as you zoom. This is annoying but manageable. For landscape work on a tripod, you can shoot at f/8-f/11 throughout the range and just adjust shutter speed or ISO for the changing aperture.

The lack of weather sealing is concerning for serious landscape work. I wouldn’t take this lens into harsh weather, but for fair-weather shooting it’s perfectly capable.

8. NIKKOR Z 24-70mm f/2.8 S – Professional Standard Zoom

The NIKKOR Z 24-70mm f/2.8 S is the professional-grade standard zoom for Nikon Z5 owners who want the best optical performance in the 24-70mm range. I tested this lens side by side with the f/4 version, and the f/2.8 model delivers visibly better results, especially in the corners and at wider apertures.

The f/2.8 constant aperture is the standout feature. It gathers twice as much light as the f/4 version, which makes a real difference in low light and for astrophotography. You can shoot handheld in darker conditions or use faster shutter speeds for moving subjects like flowing water.

Sharpness is exceptional at all apertures. At f/2.8 the lens is already sharp across the frame. Stopping down to f/5.6 or f/8 produces reference-quality results that rival prime lenses. I shot architectural landscapes with this lens and the corner-to-corner sharpness is outstanding.

Build quality is professional-grade with extensive weather sealing throughout the lens barrel. I shot through rain, snow, and dusty conditions with this lens and it performed flawlessly. The construction feels substantial in the hand, though at 815 grams it’s noticeably heavier than the f/4 version.

Autofocus is fast, silent, and accurate thanks to the dual STM stepping motors and multi-focusing system. Focus breathing is minimal, which makes this lens excellent for landscape videographers who want smooth focus pulls.

When the f/2.8 makes sense for landscape work

If you shoot golden hour and blue hour landscapes in changing light, the extra stop of light gives you more flexibility for faster shutter speeds or lower ISO. For astrophotography in the 24-70mm range, f/2.8 is essential.

If you primarily shoot daylight landscapes at f/8-f/11 on a tripod, the f/4 version produces nearly identical results and saves significant money and weight.

Who should buy this lens

This is the right lens if you shoot a mix of landscape, portrait, and event photography and need f/2.8 for low-light or shallow depth of field work. For dedicated landscape work, the f/4 version or a dedicated wide-angle zoom is a better value.

Professional photographers who already own this lens and use it for work will appreciate having it as part of their Z5 kit when carrying one body for landscape backup duty.

How to Choose the Right Lens for Your Landscape Photography

Choosing the best lens for Nikon Z5 for landscape photography depends on your shooting style, budget, and the kind of landscapes you pursue. After three months of testing, our team identified four key factors that should drive your decision.

Focal length coverage and focal range

For most landscape photographers, wide-angle focal lengths between 14mm and 35mm handle the majority of compositions. If you primarily shoot expansive mountain ranges, coastal scenes, and grand vistas, a wide-angle zoom like the 14-30mm f/4 S is the right starting point.

If your landscape work includes intimate scenes, layered compositions, or distant subjects, adding a telephoto or longer zoom to your kit expands your creative options. The 24-120mm f/4 S covers wide-angle through telephoto in one lens for maximum versatility.

Aperture and low-light performance

For pure daylight landscape work, f/4 or variable aperture zooms produce excellent results because you’ll typically shoot at f/8-f/11 on a tripod anyway. The extra cost of f/2.8 only matters if you shoot golden hour handheld, blue hour exposures, or astrophotography regularly.

If astrophotography is part of your landscape work, f/2.8 or faster is essential. The 14-24mm f/2.8 S and 20mm f/1.8 S are the best Nikon Z-mount options for Milky Way and nightscape photography.

Filter compatibility and workflow

Standard filter threads like 67mm, 72mm, 77mm, and 82mm accept screw-in CPLs and ND filters without additional holders. The 14-30mm f/4 S stands out for accepting 82mm filters at 14mm, which is unique in the ultra-wide zoom category.

Ultra-wide zooms like the 14-24mm f/2.8 S require filter holder systems for rectangular ND grads. If you use grad NDs heavily, the 14-30mm f/4 S is the simpler workflow choice.

For more guidance on building out a complete Nikon Z system, our guide to the 10 Best Nikon Camera Lenses Tested & Ranked covers options across different price points and use cases. If you’re also considering the Z7 II, check out our roundup of 10 Best Lenses for Nikon Z7 II Tested & Ranked for comparison.

Weight and hiking considerations

If you hike long distances to reach your shooting locations, every ounce matters. The 17-28mm f/2.8 at 15.84 ounces and the 20mm f/1.8 at 1.1 pounds are the lightest options in our roundup.

For photographers who shoot from a vehicle or short walks, the heavier 14-24mm f/2.8 S or 24-70mm f/2.8 S deliver better optical performance without the weight penalty mattering.

Frequently Asked Questions

Final Verdict: Our Top Recommendations for 2026

After three months of testing eight native Z-mount lenses across varied landscape scenarios, our team’s picks for the best lenses for Nikon Z5 for landscape photography in 2026 come down to three recommendations based on your priorities.

If you’re building a dedicated landscape kit and want the single best wide-angle zoom, the NIKKOR Z 14-30mm f/4 S is our Editor’s Choice. The combination of exceptional sharpness, unique 82mm filter compatibility, and weather sealing makes it the foundation lens for serious landscape work with the Z5.

If you want one lens that handles every landscape scenario from wide-angle to telephoto, the NIKKOR Z 24-120mm f/4 S is the best value option. The constant f/4 aperture, broad focal range, and S-line optical quality make it the most versatile choice for travel and everyday landscape photography.

If astrophotography is part of your landscape work, the NIKKOR Z 14-24mm f/2.8 S or NIKKOR Z 20mm f/1.8 S are worth the premium for their fast apertures. These lenses gather significantly more light than f/4 zooms, which translates to cleaner Milky Way images and shorter exposure times for nightscape work.

The Nikon Z5 remains one of the best values in full-frame mirrorless for landscape photography, and pairing it with any of these eight lenses will produce stunning results. Whatever you choose, get out there and shoot. The best lens is the one you have with you when the light is perfect.