Tokino Sd 11-16 F28 (if) Dx Lens Review

Tokina 11-16mm f/ii.8 AT-10 Pro DX Lens Review

The Tokina 11-16mm f/2.8 AT-Ten Pro DX Lens review is the first Tokina lens review I've had the pleasure of creating. And it has been a very positive experience. This is a well-built, ultra-wide angle lens that has very good overall paradigm quality and, at review time, has the widest max aperture available in a zoom lens wider than 14mm.

The Tokina xi-16mm f/2.viii AT-X Pro DX Lens review is one of a grouping of ultra-wide angle lens reviews I am creating and direct follows the Sigma 8-16mm f/4.5-5.6 DC HSM Lens Review. Thus, you are going to see many of the aforementioned comparisons and data in each of these reviews.

Getting the proper focal length or focal length range is a very important criteria when selecting a lens. And the first allure to whatsoever ultra-wide zoom lens is in fact the ultra-wide focal length range, so let's review what this focal length range looks like. Existence a Tokina "DX" (Digital Format) lens, the Tokina 11-16mm f/2.8 AT-X Pro DX Lens has a smaller-than-full-frame epitome circumvolve designed to work only on APS-C/1.6x/1.5x FOVCF DSLRs. All of the ultra-broad angle lenses compared in this review are the aforementioned in regards to this smaller prototype circle. Thus, the focal lengths shown for all of the lenses below are similar to one.6x longer focal lengths on a full frame SLR or DSLR. The Tokina's 11-16mm frames like a 17.6-25.6mm lens on a full frame DSLR.

Following is an case of the focal length range of this lens. Click on the epitome below to view a much larger comparing including 4 other ultra-wide angle lenses.

Use the widest focal length you have bachelor in your kit (perhaps 18mm or 24mm) to closely lucifer i or more of the above focal lengths and base your own comparing on that pick. When deciding which focal length range is best for you, consider the lens(es) you lot already have and how the ultra-broad angle zoom focal length range aligns with information technology. Also consider which focal length range you need on the lens that is mounted while using this lens (with no lens modify required).

In terms of focal length ranges, the focal length numbers by and large tell the difference. 8mm is wider than 11mm and 24mm is longer than 16mm. The Tokina xi-16mm f/2.8 AT-X Pro DX Lens has a shorter focal length range than of whatever of the other lenses in this comparing. It does not get as wide and it goes no longer than any of the others. Still, 11mm is very wide and 16mm is quite useful. The xi-16mm range will complement an 18-something mm lens nicely.

Notation that the ultra-wide bending zoom lenses are so wide that they are not going to be the ideal general purpose lens for most people - they are all the same as well wide for this purpose - even on the long end.

As I said in the Sigma viii-16mm Lens Review, a beach poison ivy patch as shown above is perhaps the nearly unsafe subject you want to shoot with an ultra-wide angle zoom lens. These focal lengths have in a very wide angle of view - and subjects must be close to not become a tiny spec in your frame. 1 of the best ways to use an ultra-wide bending lens is to find a relatively shut subject area that yous want to stand out, to have presence, in relation to the background.

Landscape photographers are of class one group that loves to find a close field of study and frame it in a striking, vast in-focus scene using the deep depth of field these ultra wide angles of view (with narrow apertures of class) give them.

People are the one field of study that you volition not want to be too close to when shooting at the ultra wide angles as they will appear perspective-distorted. And this means that, unless you lot are going for the big head/big nose look, group photos and environmental portraits are the blazon of people pictures this lens is most useful for. And caution is yet required for these shots. Any group members closer to the camera than those in the dorsum of the grouping past whatever meaning distance percentage volition appear larger (potentially much larger).

There a many other uses for ultra-wide angle lenses including architecture (specially interiors) and automobile photography. Or you lot can simply capture a snap shot containing the big picture.

With an as-wide-as-it-gets-in-a-zoom-lens maximum f/2.viii aperture available over the unabridged range of focal lengths, this lens tin can stop action in depression light better than the rest of the available-at-review-time lenses in this form. The nearest competitor is the 2/iii stop darker Sigma x-20mm f/3.5 EX DC HSM Lens. Thus, low lite activeness is a use this lens is suited for (though AF may be a limiting factor in shooting very fast-approaching subjects at short distances).

It is especially nice to have broad open up aperture exposure values remain abiding throughout the zoom range of a fixed maximum discontinuity lens - a feature shared just past the Sigma 10-20mm f/iii.five EX DC HSM Lens in this test group. Here is a tabular array that compares the max aperture for these lenses.

Model	f/2.8	f/3.2	f/3.five	f/4.0	f/four.5	f/v.0	f/5.6
Catechism EF-Southward 10-22mm f/3.5-iv.5 USM Lens			10mm	13mm	18mm
Sigma viii-16mm f/4.five-5.six DC HSM Lens					8mm	8mm	13mm
Sigma 10-20mm f/3.5 EX DC HSM Lens			10mm
Sigma 10-20mm f/four-5.6 EX DC HSM Lens				10mm	11mm	12mm	16mm
Tamron 10-24mm f/3.v-iv.5 DI Ii Lens			10mm	14mm	21mm
Tokina 11-16mm f/ii.8 AT-Ten Pro DX Lens	11mm

Keep in listen that built-in flash coverage on nigh DSLRs will not cover 16mm, so programme on an alternative method of flash lighting/diffusion if planning to use flash with this lens.

Being my get-go Tokina lens, I was especially anxious to meet how information technology performed optically. The Tokina 11-16mm f/2.8 AT-X Pro DX Lens delivers very skilful heart sharpness broad open and shows slight improvement when stopped down. Corners at f/2.8, especially at the wide terminate of the focal length range are obviously softer than the center. This is not unusual and the image quality in the corners is not terrible. Past f/4, corners are looking ameliorate and by f/five.6, they are looking great. I accept been especially pleased with the existent world image sharpness this lens delivers - particularly for mural photography at f/8 or then.

For a lens this wide, the Tokina 11-sixteen has remarkably footling distortion on non-too-close subjects (perhaps office of the do good of a short focal length range). I can find a small amount of barrel distortion at 11mm. The barrel distortion transitions to virtually no distortion at 14-16mm.

At 11mm, the tokina 11-16 has well-nigh two stop of vignetting in the extreme corners at f/ii.8. Vignetting diminishes as the focal lengths become longer and the aperture narrows, merely still expect about .eight through .vi stops of shading in the corners at f/8. Though bully, you will see slight shading in the corner of your frames with an even-colored groundwork (such as a blue sky) at f/viii. This lens performs best (or near best) in class in this regard. A normal thickness UV filter will add a small amount of vignetting at 11mm and a normal thickness circular polarizer filter will of course add fifty-fifty more than vignetting. These differences tin be reviewed in the Vignetting Tool using the mouseover feature.

With focal lengths this wide, you can await bright light sources to oftentimes exist included in the frame. And if you are shooting outside, the dominicus is likely going to be the biggest ane. The Tokina xi-16 arguably trails this lens course past showing the most flare in this specific situation. Unless you like the effect (my daughter thinks it's cool), you lot are going to have a challenge removing the Tokina 11-16's flare from your images in post processing. The best option with this lens is to avoid the flare in the offset place.

Tokina 11-sixteen images readily prove CA (Chromatic Aberration) in the corners at all focal lengths. The appearance of the CA remains similar throughout the focal length range.

The Tokina 11-16 has a 9-blade rounded aperture, but the quality of that mistiness (bokeh), if even noticeable, is not particularly bang-up, showing a vivid outline to OOF specular highlights. While the eleven-16 can indeed create some groundwork blur, this is probably not the reason you want to buy this lens (or any ultra wide angle lens).

The Tokina 11-16mm f/2.8 AT-X Pro DX Lens is not the fastest autofocusing lens - nor is it the quietest. The 11-xvi'southward micro-motor AF drive focuses reasonably fast, but most of the time (perhaps 90% of the time), the 11-sixteen will make a second focus adjustment immediately after the get-go. This is as tested on the newest Catechism APS-C DSLR bachelor at review time, the Catechism EOS 60D. While not terribly wearisome, the 2nd focus adjustment definitely increases the overall focus acquisition time. Ultra wide bending lenses can become away with slow AF much easier than longer focal length lens can. The AF audio is non loud, but it is audible - a tsss-tsss audio typically is heard - 1 tsss for each focus adjustment.

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 balance, only the AF organization is nevertheless not challenged likewise strongly with well-nigh uses this lens will see. Overall, I've had good AF accurateness from this lens, but did find information technology to slightly misfocus occasionally.

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 non turn while autofocusing. A shift forward or backward of the focus ring is used to disengage (AF) or engage (MF) the manual focus gears. Tokina refers to this as the One Impact Focus Clutch Mechanism. This is not my personal favorite system, but it works fine - and it is perhaps improve than the typical micro-motor AF lens organization that utilizes a switch and always-engaged MF gears (focus rings turns during AF). The transmission focus ring is very smooth with no play and it has a relatively wide range of adjustment (for an ultra-wide angle lens). Video shooters will besides capeesh the lack of focus breathing - the subject framing does not change with focus aligning.

The Tokina 11-16 turns in what is easily the lowest MM (Maximum Magnification) value in its class. Actually, the Zeiss 18mm f/3.v Distagon T* ZE Lens is the but lens in my current-at-review-time lens specifications database with a lower MM value (0.08x). And the Canon EF 1200mm f/5.six L USM Lens, on the other end of the focal length spectrum, is the only other lens with the equivalent MM spec.

Model	MFD		MM
Canon EF-S x-22mm f/3.5-4.5 USM Lens	9.4"	(240mm)	0.17x
Sigma 8-16mm f/4.v-five.6 DC HSM Lens	9.4"	(239mm)	0.13x
Sigma 10-20mm f/3.5 EX DC HSM Lens	ix.4"	(240mm)	0.15x
Sigma ten-20mm f/4-v.6 EX DC HSM Lens	9.4"	(240mm)	0.15x
Tamron 10-24mm f/iii.5-4.five DI 2 Lens	ix.4"	(240mm)	0.20x
Tokina 11-16mm f/two.8 AT-X Pro DX Lens	11.eight"	(300mm)	0.09x

If the in-your-confront, perspective-distorted close-upwards look is what you really want, the other lenses in this review group, with their shorter minimum focus distances and wider focal lengths, are going to ameliorate-create it. I suppose some other way to look at this spec is that information technology volition prevent you from making the about-severe perspective distortion mistakes.

The rear-positioned (where I like it) zoom ring is smooth with no play or wobble and a nice amount of rotation. Zoom ring rotation is in the opposite direction of Canon lenses (the same equally Nikon lenses). The Tokina 11-16 does not alter size with focusing or zooming (and the filter threads practice non rotate). The zoom and focus rings are raised from the lens barrel and have different, only significant ribs in their rubber grips.

The push-pull auto-manual (respectively) focus ring can exist seen changing positions in the examples above. The Tokina barrel finish is prissy. The flocked-interior (like Canon lenses) Tokina BH-77A lens hood is included in the box with this lens. Information technology smoothly and easily bayonet mounts (push and twist), snapping into identify.

Compare the size and shape of the Tokina 11-16mm f/ii.8 AT-10 Pro DX Lens with some other lenses in its class beneath. Lenses arranged from short to alpine in retracted position, are the:

Sigma ten-20mm f/4-5.6 EX DC HSM Lens
Tamron ten-24mm f/3.5-four.5 DI Ii Lens
Canon EF-S x-22mm f/3.5-4.5 USM Lens
Tokina eleven-16mm f/ii.8 AT-10 Pro DX Lens
Sigma 10-20mm f/3.v EX DC HSM Lens
Sigma 8-16mm f/4.5-5.6 DC HSM Lens

The concrete size differences between these lenses are not significant. The same lenses are shown below fully extended with their hoods in identify.

Two notables from the image above: The space betwixt the Canon 10-22 and the lenses beside it increases significantly because of its ultra-wide lens hood, and the size order of these lenses practically reverses with the lenses extended and the lens hoods in place. Once again, the physical size differences between these lenses is not meaning - and all of these lenses are a very nice-to-apply size.

Hither is a chart with the specific lens specifications.

Model	Weight		Dimensions w/o Hood		Filter	Yr
Canon EF-S 10-22mm f/three.v-4.5 USM Lens	thirteen.six oz	(385g)	3.iii 10 3.5"	(84.0 x 90.0mm)	77mm	2004
Sigma 8-16mm f/4.5-v.half-dozen DC HSM Lens	19.6 oz	(555g)	3.0 10 iv.two"	(75.0 ten 105.7mm)	na	2010
Sigma 10-20mm f/iii.5 EX DC HSM Lens	eighteen.4 oz	(520g)	3.iv x 3.5"	(87.three ten 88.2mm)	82mm	2010
Sigma 10-20mm f/iv-5.6 EX DC HSM Lens	16.half dozen oz	(470g)	3.iii x 3.two"	(83.iii x 81.0mm)	77mm	2008
Tamron 10-24mm f/3.5-iv.5 DI 2 Lens	14.3 oz	(406g)	3.three x three.4"	(83.2 ten 86.5mm)	77mm	2010
Tokina 11-16mm f/2.eight AT-X Pro DX Lens	19.eight oz	(560g)	3.3 x 3.v"	(84.0 x 89.2mm)	77mm

The Tokina 11-16mm f/2.8 AT-Ten Pro DX Lens is the heaviest lens in this review group. But tipping the scales at 19.8 oz (560g) does not make it a heavyweight lens. Even though the lens butt construction is plastic, this lens feels solid - partially due to the large corporeality of glass in information technology along with the primarily-rubber grip surfaces. I can carry this lens for long periods of time without any strain.

The xi-16's 77mm filter size is a mutual one. These filters are not small or inexpensive, merely they can ofttimes be shared amidst other lenses from various manufacturers. Be aware that a circular polarizer filter is going to provide very uneven results when used at 11mm on this lens.

None of these lenses are atmospheric condition sealed - don't be confused when y'all run into "WR" (H2o Repellent) listed as a spec for the Tokina 11-16. 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. As a result, the lens offers excellent h2o- and oil-repellent performance and makes for easier cleaning should the lens be accidentally smeared with fingerprints or cosmetics." Then, WR refers to "water-resistant protection to the front element merely" [B&H]. This is of course a good feature to accept. Sorry - I didn't try smearing my front element to examination this feature. But couldn't bring myself to doing it.

For many more comparisons, review the complete Tokina xi-16mm f/ii.8 AT-X Pro DX Lens Specifications using the site's Lens Spec tool.

Here is one more look at this lens on a Canon EOS 60D with a Canon BG-E9 Bombardment Grip. Click on the image to see a comparison with v other similar lenses.

Tokina eleven-16mm f/2.8 AT-X Pro DX Lens  No Hood  |  Hood 

While comparing these ultra-wide bending lenses, permit's take a look at an image quality comparing. Click on the prototype below to view a 100% crop image quality comparison betwixt vi ultra-broad angle APS-C format lenses. The comparison loads in a new page. Use Alt-Tab/Ctrl-Tab to switch betwixt pages as you read the commentary below.

Annotation that the Sigma x-20mm f/three.5 EX DC HSM Lens performs much worse on the left side of the frame (as shown in the comparison) than on the right. You volition come across the deviation when comparing this lens in the ISO 12233 nautical chart sample crops.

Click on the image below (opens in a new window) to meet a comparing between like lenses.

In the corner paradigm quality comparing, the Tokina 11-16mm f/2.8 AT-X Pro DX Lens holds up well at 11mm when compared to the other lenses at equivalent apertures. And at 16mm, it rules the competition.

I've already mentioned the Tokina'south focal length range disadvantage and significant max aperture advantage over all of these other lenses. The discontinuity advantage makes the 11-16 the definite selection for stopping action or handholding in low light - if the shallower but still reasonable DOF is acceptable for your needs. The Tokina shows far more flare than the other lenses, with the Canon coming closer at 16mm. This is a disadvantage whenever bright lights are in or near your frame.

The Sigma 8-16mm f/4.5-5.half dozen DC HSM Lens and Sigma x-20mm f/4-5.6 EX DC HSM Lens have less CA. CA is one of the easier lens aberrations to correct in post processing. The Tokina has less vignetting than most of the rest.

The Catechism has Ring USM AF and the Sigma lenses accept HSM to their advantage.

The Tokina 11-16 is a lens of bests and worsts, but its cost tag falls in the middle of those of this group - and noticeably lower than the most expensive lens (the Catechism). For the money, the Tokina 11-sixteen is a very potent performer optically - a very practiced deal.

At review time, the Tokina xi-16 is bachelor in Catechism (reviewed), Nikon and Sony/Minolta mounts. My standard disclaimer: There are some potential issues with third party lenses. Since Tokina reverse engineers (vs. licenses) manufacturer AF routines, there is always the possibility that a DSLR body might not back up a (likely older) tertiary party lens. In that location is also the risk of a problem that results in the lens and trunk manufacturers directing blame at each other. Tokina USA'due south 3-twelvemonth warranty is 3x longer than Canon's 1 yr warranty.

The Tokina eleven-16 is a very popular lens and for good reasons. I know that I said the same matter in the Sigma eight-16mm f/4.5-five.6 DC HSM Lens Review, only, I call back the Tokina 11-16mm f/2.8 AT-10 Pro DX Lens is also a smashing addition to the kit.

Bringing you this site is my full-fourth dimension job (typically 60-lxxx hours per calendar week). Thus, I depend solely on the commissions received from yous using the links on this site to make any purchase. I am grateful for your support! - Bryan

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Source: https://www.the-digital-picture.com/Reviews/Tokina-11-16mm-f-2.8-AT-X-Pro-DX-Lens-Review.aspx

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