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

Product Information

I found an interesting issue. In the top left corner, the sharpness in Tokina 11-16mm f/2.8 DX II is even worse, than in Mi 9 wide-angle mode. 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? As of April 2008, the 14-24mm f/2.8 is the lens I use most often for my crazy photography — but I shoot it on a full-frame Nikon D3. The main update to this lens is in the Nikon mount, the AT-X 116 PRO DX II has an internal silent focusing motor to allow the lens to AF on Nikon bodies that do not have an AF drive gear and motor. FTM (Full Time Manual) focusing is not available in the Tokina 11-16mm f/2.8 AT-X Pro DX Lens, but the focus ring does not turn while autofocusing.

Corners at f/2.8, especially at the wide end of the focal length range are obviously softer than the center. Actually, the Zeiss 18mm f/3.5 Distagon T* ZE Lens is the only lens in my current-at-review-time lens specifications database with a lower MM value (0.08x). Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. There is also the risk of a problem that results in the lens and body manufacturers directing blame at each other. The level of integration with the D7000 and d700 is great....for example use trhe push/pull manual focus ring and it disengages menu functions as it should.The Tokina 11-16 has a 9-blade rounded aperture, but the quality of that blur (bokeh), if even noticeable, The Tokina 11-16mm is just a tiny bit worse than the Nikon 12-24mm, if you compare them directly to each other. Landscape photographers are of course one group that loves to find a close subject and frame it in a striking, vast in-focus scene a sharp shot. Reviewing the image and confirming that it's sharp after taking the shot is the only way to use this lens Pic. 9 The vignetting issues with Tokina 11-16mm f/2.8 DX II in low-light conditions. Waterbeach, United Kingdom.

A "coating made of a special compound has been applied to the front surface of the lens through the use of a unique evaporation process.

For Still Photography

Performance is excellent. It works and feels great. The zoom range is very limited, not a problem for ultra-wide aficionados like me since I usually only shoot this at 11mm. It's amazing how much sharper the Tokina is than the Nikkor. At the normal (smaller) apertures at which a smart person would shoot this, the differences become much more subtle. These were shot on a tripod, and I even left the Kenko UV filter on the loaned Tokina. I needed a true wide-angle alternative to my APS-C sensor camera and I was contemplating whether to buy the Canon EF-S 10-22/3.5-4.5 USM, the Sigma 10-20 4-5.6 HSM or the The f/2.8 maximum aperture is perfect for low light shooting – ISO1600, 1/13, f/2.8, 11mm (35mm equiv: 16.5mm) Stopping down just a little improves sharpness across the frame dramatically at longer focal lengths – ISO200, 1/1600, f/4, 14mm (35mm equiv: 21mm)

Pic. 20 The general close-up view by Tokina 11-16mm f/2.8 DX II. Cambridge Botanic Garden, United Kingdom. This Tokina 11-16mm lens sets a new standard for speed and sharpness in small-format digital SLR lenses. It's also the fastest ultrawide available for small format digital SLRs.

Built Quality & Exterior Design

The lens flare is an undesirable light artifact within the image caused by very bright light (sun, moon, streetlamp, etc.). Sometimes the flare can exist as haze veiling a whole scene, making the colors washed out a bit and smaller contrast. The flares are the effect of light scattering inside of the lens, comprised of single glasses featuring some surface imperfections. Important is the spatial distribution of the flare, which mostly depends on the shape of the aperture. Perfect. Just pull the focus ring towards you, with no need to move any switches on the lens or camera. 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. People are the one subject that you will not want to be too close to when shooting at the ultra wide angles as they will appear perspective-distorted.