4 X Tokina: Affordable Performance

ASSEMBLY TEST: a really wide to get with very-tele to reach far – or a really close-up photo of a flower? The Tokina is the brand that is at a lower price than several competitors, but still able to deliver good quality for both Nikon and Canon cameras.

Usually in the photo world is saying that» you get what you pay for. But usually is also the improvement of such as optics, decreases dramatically with increasing costs above a certain level. Basically, it is always about what to wear their images to and how much money you are willing to pay – and on that front there are many alternatives to the more expensive lenses on the market that still manages to deliver really fine sharpness and good contrast.

We have in this test checked some Tokina lenses for those who want to broaden their horizons. Wide angle lenses 11-16 mm/2.8 and 12-28 mm/4 allows you to get cool pictures with a perspective that captures much of what is happening, while the two 100 mm/2.8 macro lenses and 35 mm/2.8 allows you to go near the small.

As a hallmark of Tokina’s lenses, we have the quick use feature to switch between manual and auto-focus by attracting or shirk the focus ring. This function is easy and smart, and makes it easy to switch the mode.

Tokina SD 11-16 mm/2.8 IF DX II

The build quality of this lens is really good. It feels qualitatively in the material and its design, and the buttons and controls feel well constructed. The only downside I can find is that the zoom ring feels slightly sluggish, something that sometimes can be a disadvantage, but sometimes also a benefit because the focal length stays even when walking around with the camera.

The focus ring is, by contrast, really nice-easy to adjust, soft spinning on and really easy to use. To fine tune the focus is as it should be with any lens. Otherwise the lens feels really good to use. To photograph in 11 mm (17 mm in 35 mm format) is often pretty cool, because the angle of view becomes so great. You get with much in the picture, and you can make really impactful slicers. At 16 mm mode you end up on the classic at the angle of 24 mm in 35 mm format, which gives good images at wide angle. It has a maximum aperture of 2.8 makes it too bright, and suitable for low-light situations.

The lens is made for APS-C sensors. My focus on the lens is good, and getting better stopped down to 11 mm. in the 16 mm edge-sharpness mode makes good three step stopped down. The lens has also some chromatic aberration and distortion.

Tokina SD 12-28 mm/4 IF DX

This lens has many similarities with the aforementioned 11-16 mm/2.8. The biggest difference is in the brightness which is worse, with the aperture 4 instead of 2.8. Angle of 18 mm in 35 mm format provides the same type of images of 11-16 mm, but with this lens is the other end on a higher focal length – 28 mm-equivalent to 42 mm in 35 mm format.

Use of the lens gives a larger focal length which opens to the lens becomes more all-round than with just the extreme wide angle. Otherwise the lens easy and fun to use, with a big plus for both the extreme at the angle and the ability to almost reach 50 mm.

Construction quality of 12-28 mm/4 is exactly the same as in 11-16 mm/2.8 and also made for cameras with APS-C sensors.

The lens is sharp from Aperture 4 in 12 mm mode, but edge sharpness is clearly worse than my focus. At 28 mm, edge sharpness better. The lens also has obvious chromatic aberration.

Tokina Macro 100 mm/2.8 D

Although the design and set-up of this macro lens differs from previous wide angle lens so you basically again Tokina design. The construction feels this also qualitative, with really soft focus ring which is precise, quick and easy to adjust. When focusing the lens pushes the inner part out, which makes it longer.

The lens also features a switch to limit of to focus faster can be found off the camera without having to stay focused through the whole fokusspannet. The reason is the short depth of field that can make the camera get confused.

On the lens we find a manual aperture ring, which classic goes to lock in auto mode to let the camera take care of aperture adjustment.

Macro is really fun, and it will be really fun to get as close as you can with the Tokina 100 mm/2.8. Many have gone the way through macro photography because it is» a whole new world, “and when I tested the lens so it was a bit of that feeling came back. It will really horrible near, and it is possible to take pictures that are so shallow depth of field to the small, little sharpness that actually goes to see only a thin line stretching over the images. Awesome.

The lens is designed for cameras with APS-C sensors, and is sharp from 2.8. Chromatic aberration and distortion is negligible.

Tokina Macro AT-X 35/2.8 Pro DX

The lens with the name AT-X M35 has been developed together with Pentax, and then included in the Limited segment of lenses. The lens is for cameras with APS-C sensor and then give a normal focal length equivalent to around 52 mm in 35 mm format. But as a bonus, you can actually take pictures with the lens on a camera with full frame sensor because the lens covers almost right out of the edges.

The lens, however, can be difficult to obtain because it is no longer manufactured.

This normal lenses with macro capability is cool to use because you can get really close to the object you are photographing. The image will be like in 100 mm/2.8 really cool, with a feeling of being inside such as the flower. The depth of field is slightly larger than 100 mm/2.8 – assuming it even going to talk about deep depth of field with these lenses.

This lens has a limit/full-button with restriction of auto focusing for faster focusing.

The lens is sharp at 2.8, and becomes something, something sharper stopped down, the edges. The lens has low distortion and low chromatic aberration.