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The Tokina lenses are one of the few, which personally I could take into consideration personally. Having already the Sigma 18-35mm f/1.8 Art I didn’t need to buy the 11-20mm lens, which was more expensive. I have chosen the 11-16mm model and I am happy. The lens is really good, although there are still some things, that could be better for this range of price. Traditionally I am showing all major features of the lens below. With these off-brand lenses, you may or may not sometimes need to dial-in a little AF fine-tuning. With this sample, I was fine. 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. zooms, but not the Tokina, it's not reliable at infinity, sometimes you need to run it to the hard stop past infinity for 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.
Look out: you're going to get a big, fat shadow on the bottom of your pictures if you use a built-in flash. This is because the camera casts a shadow, and this lens is so wide it can see down far enough to see the shadow. 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. Barrel distortion is a little noticeable at the short end of the zoom range but negligible at or near 20mm. PerformanceSince the overall length does not change thanks to internal type of focusing, there is no need to do gimbal calibration every time the angle of view was changed. Be sure to turn off any in-camera distortion correction, since if your Nikon or Canon thinks it has a lens profile for this Tokina, it most certainly will be for some other lens, and do some weird things to the image. Performance doesn't vary with focal length, which is unusual, and also makes it much simpler to describe.
The biggest distortion, reaching even -3% is typical for 11mm, although as we change the exposure, the problem decreases. At 16mm it’s expressed marginally (-0,5%). The percentage values mean how much % the image height is to be bent in relation to the overall image height. Misuse #3: I'm showing only the far left edge. The centers of these images looked the same. Very few images have important details on the edges. Good photographers keep the details away from the edges to keep our eyes from wandering off the print! The Nikon D7000 does a good job of correcting any that may be in the Tokina 11-16. There is some violet to blue flare seen on contrast objects occasionally in the corners.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. Even though the lens barrel construction is plastic, this lens feels solid - partially due to the large amount of glass in it Pic. 9 The vignetting issues with Tokina 11-16mm f/2.8 DX II in low-light conditions. Waterbeach, United Kingdom. The Tokina 11-16mm II is always sharp in the center, and often softer on the far sides and corners. This improves stopped-down. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.
I compared the zoom range to full-frame lenses on my D3. Tokina is telling the truth: 11mm has the same field of view as my 14-24mm lens set to 17mm on my D3, and the 16mm end of the Tokina covers the same field as a 25mm lens on my D3. Vignetting diminishes as the focal lengths get longer and the aperture narrows, but still expect about .8 through .6 stops of shading in the corners at f/8.
Ditch the Kit Lens
Despite my notes on the exterior of the lens, what Tokina has cooked up inside is working for me. There are 13 elements in 11 groups, including two aspherical elements and two super low-dispersion elements. There is not much in the way of distortion and color fringing, and as far as the common optical problems that lenses face, its biggest weakness is probably in the ghosting that can sometimes overpower an image. 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. There is also the risk of a problem that results in the lens and body manufacturers directing blame at each other. I've already mentioned the Tokina's focal length range disadvantage and significant max aperture advantage over all of these other lenses. As a result, the lens offers excellent water- and oil-repellent performance and makes for easier cleaning should the lens be
On my Nikon D300, the distance was properly coupled for correct fill-flash exposure. You can try this yourself by changing the focus from near to far, and you'll see the flash exposure of a close object reduces as you focus more closely. The only weakness of the lens is chromatic aberrations, especially at the wider settings and at max aperture. However, since both RAW converters I employ, Canon's DPP and Adobe's Camera raw, have excellent correction for CA it's not a problem when shooting RAW, which is what I do 100% of the time.I would never bring my 14-24mm f/2.8 when I shoot my D300. On my D300 I shoot my 12-24mm f/4 DX, or if I started from scratch today, I'd much rather use this Tokina 11-16mm than the huge 14-24mm f/2.8. Landscape photographers are of course one group that loves to find a close subject and frame it in a striking, vast in-focus scene
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