TOKINA AT-X 11-16mm F2.8 DXII Canon

Product Information

The AF sound is not loud, but it is audible - a tsss-tsss sound typically is heard - one tsss for each focus adjustment.

When used on a DX camera, it gives angles of view similar to what a 17-24mm lens gives when used on an FX or 35mm camera. The Tokina 11-16mm f/2.8 AT-X Pro DX Lens delivers very good center sharpness wide open and shows slight improvement when stopped down. Use the widest focal length you have available in your kit (perhaps 18mm or 24mm) to closely match one or more of the above focal lengths and Tokina 11-16mm is the best super-wide angle lens up to date. The build quality of the lens is very good. The image quality is excellent in any aperture and focal length. Auto focus is fast and quiet. This Tokina 11-16mm f/2.8 II is a bargain of a fast ultrawide zoom. It comes in versions for Nikon and for Canon and others.NEW: Tokina 11-16mm f/2.8 II Review. Same thing, with a built-in autofocus motor for cheaper Nikon DSLRs. For about the same price, I'd get the II model instead so you'll never have to worry about camera compatibility. Ghosting control is below average for a super wide zoom of the twenty first century, so keep strong lighting out of the image Note that the Sigma 10-20mm f/3.5 EX DC HSM Lens performs much worse on the left side of the frame (as shown in the comparison) than on the right. If you need autofocus on your D40, D40x or D60, you need either the Nikkor 12-24mm or the Sigma 10-20mm HSM. I wouldn't worry; AF isn't critical with ultra wide lenses.

If you're on a budget or if you want the sharpest ultra-wide lens for your DX Nikon, get this Tokina 11-16mm. It's better than the more expensive (and longer zoom range) Nikkor 12-24mm. Pic. 4-5 Another distortion example in Tokina 11-16mm f2/8 DX II, where you can see how the stars turn into dashes and head outwards of the image center. Exif: 30s, f/2.8, ISO 3200, 11mm. The Tokina ATX-i 11-16mm F2.8 CF is designed with videographers and film makers in mind who shoot both stills and video professionally, featuring the following advantages for such a kind of users:Overall, I've had good AF accuracy from this lens, but did find it to slightly misfocus occasionally.

The f/2.8 maximum aperture is perfect for low light shooting – ISO1600, 1/13, f/2.8, 11mm (35mm equiv: 16.5mm) This new "II" version is the same as the original Tokina 11-16mm lens, but with supposedly slightly better multicoating. More importantly, the "II" version adds an internal autofocus motor in the Nikon version so it now autofocuses even on Nikon's cheapest cameras. It is hard to believe that this lens sells for the same price as a F4.5 10-20mm sigma here in New Zealand because in my mind its a no-contest. Sure it doesnt have the same factor 2 zoom range but who cares when its so sharp and fast? Compare the size and shape of the Tokina 11-16mm f/2.8 AT-X Pro DX Lens with some other lenses in its class below. Currently no other manufacturer makes such a lens for APS-C format cameras with a fast f/2.8 maximum aperture, so this lens from Tokina is unique and will suit those wishing to shoot wide views under low light conditions.The results were the same at 16mm, so I didn't bother to present them. The one shortcoming of the Tokina is its very limited zoom range: it only goes to 16mm. While not terribly slow, the second focus adjustment definitely increases the overall focus acquisition time. Having a wider max aperture than most lenses at these focal lengths (shallower DOF) gives the Tokina 11-16 need to focus more precisely than the rest, a sharp shot. Reviewing the image and confirming that it's sharp after taking the shot is the only way to use this lens

For instance, the sample of Tokina lens I reviewed here has a shifted plane of best focus, so held upside-down its plane of best focus is actually ideal for landscapes, but held regularly, it's bad for landscapes. If you can't recognize these sample variations, attempting to compare one or two samples of each is quite a crap shoot.Stopping down just a little improves sharpness across the frame dramatically at longer focal lengths – ISO200, 1/1600, f/4, 14mm (35mm equiv: 21mm) Other lenses used for this video was a Canon 50mm 1.8 and 18-135mm 3.5-5.6. You can tell which shots were with the Tokina. Because of the 2.8 aperture, I was able to record more light thus the clip being brighter and was able to use the clips from the lens for the official mv. Performance doesn't vary with focal length, which is unusual, and also makes it much simpler to describe. As far as sharpness is concerned, this lens performs best at 11mm at maximum aperture. At f/2.8 the sharpness in the centre of the image is already outstanding, and the clarity towards the edges of the frame is good. At 11mm stopping down reduces centre sharpness, but improves sharpness towards the edges gradually and the best quality from corner to corner is achieved at f/8. Tokina 11-16mm f/2.8 DX II likewise another ultra-wide lens is prone to flare, much more, than other type lenses. The Tokina is one of the worst lenses if we are talking about the flares. You can see ghosty artifacts even when the source of bright light is away from the frame.