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Tokina AT-X Pro 11-16mm f/2.8 DX II : Specifications and Opinions


Tokina AT-X Pro 11-16mm f/2.8 DX II

The Tokina AT-X Pro 11-16mm f/2.8 DX II is a wide-angle lens for APS-C, manufactured from 2012. The focus is done by Lens AF motor (non-ultrasonic), it does not have image stabilization. The average price, when it has been added to the JuzaPhoto database, is 480 €; 98 users have given it an average vote of 9.1 out of 10.

If you have used this item, you can add your vote:  

MOUNT

This lens is available with the following mounts:

Canon EF: this lens is compatible with reflex APS-C Canon EF.

Nikon F: this lens is compatible with reflex APS-C Nikon.

Sony A-mount: this lens is compatible with reflex APS-C Sony A-mount.



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 Specifications
 Focal lenght   11-16 mm
 Angle of view   105.2 - 84°  (equivalent to a 17-24mm in Fullframe 24x36mm format)
 Format   APS-C
 Max. aperture   f/2.8
 Aperture blades   9
 Lenses/Groups   13 elements in 11 groups
 Min. focus distance   0.30 meters
 Reproduction ratio   0.08x

 Features
 Zoom type   Ring, interal
 Stabilization   No
 Focus   Lens AF motor (non-ultrasonic)
 Internal AF   Yes
 Full Time MF   No

 Built and notes
 Tripod ring   No
 Extenders   No
 Filters   77 mm
 Lens hood   Yes, supplied
 Weather sealing   No
 Weight   550 g
 Dimensions   84 x 89 mm
Buy Tokina AT-X Pro 11-16mm f/2.8 DX II, buy on Ebay


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Reviews



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avatarsupporter
sent on September 27, 2017

Pros: Specification; Constant f2.8 aperture; Sharpness at all apertures; Solid build; Reassuring and positive handling; Manual focus ease of use and accuracy; Good lenshood and caps as standard; Sensible and 'standard' wide 77mm filters; perhaps price now as a used example.

Cons: Limited zoom range; Hopeless flare in bright sunshine; Archaic and Slow A/F; Price New, Nearest focus could have been closer, it is difficult to creatively utilise that f2.8 aperture.

Opinion: Basically, I use my 10-24mm Nikkor f3.5-4.5 almost all the time, especially for sunny high contrast images, with which it excels. And, basically, I use this Tokina at night, bolted to a tripod, manually focused at infinity. I had seen very many Astronomical shots, often with the Milky Way included, taken at 11mm and f2.8, that looked amazing and professional and were sharp even into the corners. I had always wanted one but having seen the MkII had (perhaps) improved the flare issues, I waited. Then, the larger sized and ranged 11-20mm f2.8 was released and I wanted that one! However, the price new of the 11-20mm is still way beyond my means. I never handled or used the original 11-16mm, so I cannot compare. I eventually bought an almost new MkII from Ebay from a private seller at around half the new price - I happened to be lucky to got it for so low a price. I also like using the Tokina in dark church interiors, a real interest to me, as the wide aperture performance is much better than the Nikon, especially in the corners and also due to around half the levels of barrel distortion of the Nikon at the widest settings. Now, the Nikkor 10-24mm isn't a bad lens to use at night, especially at 10mm, as long as you start from f4, which pulls in the otherwise poor corners in, a little. However, the Nikon is a consumer grade lens with a typically poor manual focus control, both in accuracy and the in that the distance scale is not accurate either. Typical of all variable aperture zooms, that focus shifts throughout the zoom range. You might presume that depth of field would cover this due to the wide angle of views involved, but you'd be surprised and when you are aiming for minimal post production, to keep the iso as low as possible, this aspect matters. The Tokina in contrast is easy to find infinity, which is almost exactly as marked on the distance scale and then, you can then shoot your night's shots at any setting without any further adjustment - even when you move the camera around on the tripod. The brighter image in the viewfinder from the f2.8 is more noticeable than you might think. The relatively poor flare resistance is not so much of a problem, at night , it can actually be an advantage. Nikon's better lenses have quite an aggressive contrast, not just from the better multicoatings and this makes the images look sharper - which is what most photographers want. At night, especially out in the landscape and away from industrial light sources provide a much smoother tonal range with better shadow detail and allowing the natural sharpness of the lens to really shine. I have used the Tokina in London, at night and with good results, it is only very strong light sources that flare, faring much better than say, a bulbous 14mm f2.8, which would have problems from almost any light source. I have used the Tokina in AF mode, compared to the Nikkor, well, there is no comparison. One is very quiet and quick, the other is slow and noisy. But the Tokina proved accurate enough, when it finally focused, that is! So, I could not live without my Nikkor 10-24mm. I could live without the Tokina but it is nice to have both and to use them at their particular strengths. But when you are trying to wrestle with a tripod in a field in the middle of the night and you can barely see anything, the reassuringly easy to use pro grade Tokina is a pleasure to use. IF you drop it - perhaps due to wearing gloves in the freezing cold (onto a normal ploughed field, NOT a hard surface such as a pavement or road) then I'm sure, you'd just wipe it off and re-attach it and continue. However, I know from personal experience, such could potentially damage the Nikon beyond repair.

Google Translate  The following opinions have been automatically translated with Google Translate.


avatarjunior
sent on August 19, 2019

Pros: Sharpness, F2.8, robustness

Cons: Flare, focal excursion a little limited

Opinion: The optics used on my D7100 and which I rarely take off, is always a guarantee. For landscape photos on tripods does not miss a beat and just take a look at the photos that run around the net to understand where it can go. I happened to photograph (often I would say) also freehand and always behaves in an egregious way despite the absence of the stabilizer to help. Precise autofocus, sharp already at f2.8, reaches the maximum at f5.6. He loses something at the edges at 11mm. It has a tendency to overexpose slightly, in some cases burning small areas. Just "know" it and let us keep an eye on it to get great results. The real problem with this lens is the flare, always present if you have a light source in front of you. Sometimes retouchable in posts, other times hopeless. The Switch for the MAF I personally find it a bit uncomfortable but I can't say it's a flaw. Chromatic aberration and distortions present at f2.8 to 11mm but easily solvable in PP, nothing excessive. Not quite a feather but it's nothing compared to other goals (see Tamron 24-70...) At the price at which it is located, also used, I think it is the top of the wide-angles on APS-C.

avatarjunior
sent on July 27, 2019

Pros: Sharpness, build robustness

Cons: only for aps-c

Opinion: For scruples I add an osseration to the opinions displayed in this section regarding the "alleged" flare: after numerous shots in critical condition (light, "burnt" highlights, etc.), I can see that the lens in question does NOT suffer from flare, but light Purple Fringing at the edges, where the highlights are burned. This is due to the wrong exposure and composition of the frame; just close the diaphragm a little and recompose, even underexing of a stop makes the problem disappear. That said, given the speciality of the focal, it must be used by well-known hands to enhance the richness of detail obtainable from this optics, truly remarkable. It can compete well with more ephaly and expensive optics, as well as overcome them from a constructive point of view (cf. Nikkor). As for the weight, I can say that's fine: it weighs the right. If the optics are not stabilized the higher weight becomes important: the heavier it is, the better it can absorb vibrations (but this is a topic that would require a dedicated post). Ultimately great goal, not for beginners.

avatarjunior
sent on March 10, 2019

Pros: Sharpness, yield, little distortion, usable on FX bodies at 16mm.

Cons: Flare (sometimes retouchable in post)

Opinion: Beautiful lens, heavy, well built. The switch to change the focus from auto to manual is very uncomfortable, because you have to push/pull and it is difficult to succeed at the first shot. I still love the surrender of this goal, the versatility to make street (on DX is the equivalent of a 16.5-24mm "standard"), sharpness and above all the absence of distortion from 13 to 16mm (the 11 and 12mm is still not strong and is absolutely correctable in Post). Another strong point is the maximum aperture of 2.8 that, when combined with the focal length of 16mm, allows you to detach the subject a bit from the background, with a very pleasant bokeh and not at all distracting. Obviously this lens is not meant for portraits or to isolate a subject, but after ten thousand photos wide-angle you get tired of always having all the shot in focus and you start to become a bit ' creative;-) Finally, this lens can also be used on a FX-mode body without vignetting at 16mm, with very little 15mm vignetting, with a 14mm correctable vignetting and with no more retouched black edges from 13mm down. Obviously the quality at the edges leaves a little to be desired on FX, but on the other hand it says "DX" on the barrel to clear letters.

avatarjunior
sent on December 08, 2018

Pros: Used price, brightness, limited optical distortion, sharpness, autofocus

Cons: Flareeeee darn flare, short focal, weight.

Opinion: It's a wide angle, so one of those lenses that when you do architectural photos you say; Ahhh at last! Welcome angle of Field! I paid 285 on Amazon warehouse deals practically new, used located on 300, at the price of the new: 500 and passes I would never take it. The focal hike is not as reduced as it seems, maybe it took a few more mm down and it would have been the perfect lens for the interior where it behaves very well, is crisp already closing one or two stops, is bright f2.8, beautiful colors, and I have to say that compared to other wide angles (e.g. Sigma 10-20) I noticed minor distortions. Outside the speech changes as long as you are with the sun behind everything well, but if by chance the sunlight will enter the field framed by the flare you relentlessly punish you with ugly effects on the photos, even with the lens hood mounted. In good light condition, but also low brightness, it is fantastic for photos in town, street, and interior and exterior architecture on DX. I found at least in my specimen an excellent autofocus, rarely fails. It is a bit heavy for my d5100 and already feels that it is slightly unbalanced but not too much. I recommend it especially for the sharpness and brightness compared to the price for which L I paid!




Photos taken with Tokina AT-X Pro 11-16mm f/2.8 DX II

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HI RES 3.5 MP

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