According provided by Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS lens (AF, model 535 for Nikon cameras) Many thanks to the reader of Radozhiva - Dmitry Bashtov.
The Tokina AT-X PRO SD 50-135 F2.8 DX (model 535 for Nikon cameras) is a good, and in some ways even excellent, fast telephoto lens for cropped Nikon DX cameras.
In his article 'Crop identification'One of the main drawbacks of cropped cameras is the lack of a professional lens line for them. The Tokina 50-135 F / 2.8 fights this shortcoming and is the equivalent of a professional full frame lens Nikon ED AF Nikkor 80-200mm 1: 2.8D MKIII. EGF (equivalent focal length) of the Tokina 50-135 F / 2.8 lens on Nikon DX cameras with Kf = 1.5x crop is 75-202.5 mm, which is approximately equal to the range of professional fast lenses of the 70 (80) -200 (210) / 2.8 class. A complete list of native lenses of this class can be found here. This range is great for portraiture and has proven itself in a large number of photo tasks, especially for wedding photographers. In fact, Tokina 50-135 / 2.8 replaces 4 fixes at once: 50, 85, 100/105 and 135 mm.
Of course, it’s a pity that Tokina 50-135 F / 2.8 was released only for a limited time and is now obsolete model, and worst of all, the lens has no evolutionary continuation. It is very strange that the same fate befell three similar lenses from Sigma: Sigma 50-150mm 1: 2.8 APO DC HSM EX (Versions I and II) и Sigma 50-150mm 1: 2.8 APO DC HSM EX Optical Stabilizerwhich are also discontinued. As a result, at the end of the summer of 2015, when I updated this review, there was not a single modern lens on the market that would be an analogue of full-frame monsters of class 70 (80) -200 (210) /2.8. Really the crop was put forward again ultimatum?
Tokina 50-135 / 2.8 was produced only for Canon and Nikon cameras. There is a similar lens for Pentax owners - SMC Pentax-DA * 1: 2.8 50-135mm ED [IF] SDM, with exactly the same optical design. Most likely, Tokina 50-135 / 2.8 is a joint development of Pentax and Tokina (Kenko-Tokina), which have been closely cooperating since 2003.
Canon Camera Ownersthat came to me to Radozhiv, where the Tokina 50-135 / 2.8 version for Nikon cameras is described, it will be interesting to read the review and Tokina 50-135 / 2.8 test for the Canon system on the site vlador.com.
Main technical characteristics of Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS
|The name of the instance from the review (as it is written on the lens itself)||Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS|
|Front Filter Diameter||67 mm|
|Focal length||50-135 mm EGF for Nikon DX cameras is 75-202.5 mm. For Nikon FX cameras, there is a full-frame counterpart - Tokina AT-X PRO 80-200mm 1: 2.8.|
|Zoom ratio||2.7 x|
|Designed by||for Nikon APS-C digital cameras|
|Number of aperture blades||9 rounded petals|
|Tags||a window with a focusing distance in meters and feet, focal length values for 50, 70, 85, 100, 135 mm, a bayonet mount mark (it is a mark for the orientation of the tripod foot). Hood attachment mark and tripod foot orientation marks|
|Diaphragm||from F / 2.8 over the entire range of focal lengths to F / 22 (the official specification states that the aperture closes to F / 32)|
|MDF (minimum focusing distance)||1 m, the maximum magnification ratio is reached by 135 mm and is 1: 5.9|
|The weight||845 g|
|Optical design||18 elements in 14 groups. The scheme includes 3 low dispersion elements (shown in blue in the optical diagram). The presence of such elements is indicated on the case with the abbreviation 'SD' (Super Low Dispersion).
The image of the optical circuit is clickable. Optical design similar to lens SMC Pentax-DA * 1: 2.8 50-135mm ED [IF] SDM.
Most likely the optical design is the same as that of Tokina Cinema 50-135mm T3.0.
|Manufacturer country||JAPAN (serial number on the end of the tripod foot)|
|Period||It was produced since the fall of 2006 (the time for the termination of production is unknown). Now the lens is no longer produced and is an archive model.|
Tokina 50-135 F / 2.8 is in the line of professional lenses Tokina AT-X PRO (Advanced Technology - Extra Professional). This line is characterized by the increased build quality and optical quality of these lenses.
The Tokina 50-135 F / 2.8 is the only lens with such a range of focal lengths and apertures.
Tokina 50-135 F / 2.8 very well made. Holding the lens in your hands, you experience a certain pleasure from the quality of materials. The lens itself is not very large, but rather heavy. Most of the lens body is made of metal. The focus and zoom rings are wide, comfortable and rotate smoothly, without any lags or backlash. Personally, I can write with a clear conscience that such an assembly corresponds to a professional level.
Here is just one unpleasant little thing - in its specification the lens does not have dust and moisture protection. To somehow compensate for this defect, the front lens element uses a special water-repellent coating WR (Wstick Repellent Optical Coating), which makes it much easier to get rid of moisture, liquid droplets and fingerprints that can occur if the lens is handled roughly. Nowadays many protective filters have this kind of coating, and therefore this function can be easily 'added' to any lens.
Unfortunately, unlike professional full-frame lenses, which almost all use a standard 77mm filter diameter, the Tokina 50-135 / 2.8 uses 67mm filters. On the one hand, this is an inconvenience for professionals, and on the other, a real reduction in the size of the lens, which lenses for cropped cameras are / should be famous for.
When changing the focal length the back lens remains motionless, this lens is not afraid of the effect of the 'vacuum cleaner'. Also, while changing the focal length, Tokina 50-135 / 2.8 does not change its physical size - the lens has internal zoom.
The lens uses a plastic lens hood BH-671, which is supplied and fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the focus ring is completely lost. On the inside of the hood is velor (or similar) coating.
For ease of use, the Tokina 50-135 F / 2.8 is equipped with a metal tripod foot. The foot cannot be removed, it rotates freely around its axis and is fixed with a special clamping screw. The screw cannot be completely unscrewed, and therefore it cannot be lost.
The tripod foot is small in itself and does not impede access to the zoom ring. There are four white marks on the lens body that allow you to quickly set the exact horizontal or vertical orientation of the camera.
Focus speed - average. Focus time from infinity to MDF and back on camera Fujifilm FinePix S5 Pro is a little more than 2 seconds and in real shooting conditions, when the lens loses an object from the field of sharpness, it can make you feel some discomfort. As for me, the focus speed of Tokina 50-135 F / 2.8 is quite acceptable.
It's important: auto focus with this lens is available only when using him on cameras with built-in motor focusing.
Exact list Nikon DSLR cameras with a built-in focus motor, on which this lens will focus automatically:
- D1, D1h, D1x, D2x, D2xs, D2h, D2hs
- D3, D3x, D3s, D4, D4s, D5, D6
- D50, D70, D70s, D80, D90
- D7000, D7100, D7200, D7500
- D100, D200, D300, D300s, D500
- D600, D610, D750, D780
- D700, D800, D800E, D810, D810a, D850
- Fujifilm FinePix S1 Pro, S2 Pro, S3 Pro, S3 Pro UVIR, S5 Pro, IS Pro
- Kodak DCS PRO 14n, DCS Pro SLR / n
Exact list Nikon DSLR cameras without a built-in focus motor, on which this lens will not focus automatically:
Only auto focus and sound confirmation of focus will not work with these cameras, all other important functions, such as automatic exposure metering and automatic iris control, will work well.
You will find a lot of useful information on the types of cameras and lenses Nikon here.
I would like to point out that the focusing speed with lenses like 'Nikon AF' varies slightly depending on the specific camera. More details in the section 'About the focusing speed of Nikon cameras with non-motorized lenses'.
To switch to the manual focus mode 'MF', pull the focus ring towards the camera mount. After putting the lens into manual focus mode, you can optionally not switch the focus mode near the camera mount. Such a switching mechanism exists on a huge number of Tokina lenses and is called 'One-Touch Focus Clutch Mechanism' - 'One-touch focus control'. Pull the focusing ring towards the front lens to switch to 'AF' auto focusing mode.
In manual focus mode, the focus ring rotates approximately 110 degrees. In 'AF' mode, the focus ring is disconnected from the focusing mechanism and rotates freely without affecting focusing. Focus ring travel is smooth, and manual focusing is pleasant enough.
During focusing, the front and rear lenses remain stationary, as the lens uses internal focus. In general, during focusing and changing the focal length, only the internal parts of the lens move, which makes it truly monolithic. You can easily use any filters, for example polarizing or gradient.
The minimum focusing distance is only 1 meter, while you can shoot Macro with 1: 5.9 magnification. Tokina 50-135 F / 2.8 has a window with a scale of distances in meters and feet. There is no IPIG scale, as well as labels for working in the infrared spectrum.
During auto focus, the lens and camera make a lot of noise. Tokina 50-135 / 2.8 has the 'Focus Breathing' effect - changing the viewing angle when focusing, which is not very good for video recording. When changing the focal length, focusing is lost (the lens is not parfocal).
Attention! At different times, 3 Tokina 50-135 / 2.8 lenses (for Nikon cameras) visited the exchange and each of them had a back-focus problem, which did not allow taking sharp pictures. In this case, the lens was tested on 3 different cameras. Back focus was present at all focal lengths. When aiming through Live View, the lens focused normally and showed the expected picture quality. When buying, be sure to check for back or front focus. Some Nikon cameras allow you to compensate for back focus with a fine adjustment of focus, an exact list of such cameras can be found here. Back focus almost completely crossed out all the advantages of Tokina 50-135 / 2.8. I hope that the version of the lens for Canon cameras, which has a built-in micro focus motor, is devoid of this drawback.
Tokina 50-135 F / 2.8 is designed for use on Nikon DX cameras with a focus motor (full list here) Of course, it will work on Nikon DX cameras that do not have a focus motor, and you will only have to focus manually.
Analogue Tokina 50-135 F / 2.8 for full-frame cameras Nikon FX acts Nikon ED AF Nikkor 80-200mm 1: 2.8D MKIII.
If you are looking for a similar lens, then look at Sigma 50-150mm 1: 2.8 APO DC HSM EX, its updated version - Sigma 50-150mm 1: 2.8 II APO DC HSM EX and model with stabilizer - Sigma 50-150mm 1: 2.8 APO DC HSM EX Optical Stabilizer.
In terms of image quality the lens is good and shows high sharpness at F / 2.8 in the center of the frame at all focal lengths, if you find fault, you can notice a slight drop in sharpness at F / 2.8 at the edges and corners of the image. On camera Nikon D700 and on covered apertures, the lens produces very high sharpness.
Tokina 50-135 F / 2.8 has a slight distortion, 50 mm barrel-shaped, which passes into a pillow-shaped 135 mm. When using the lens at full frame, it can be noted that the level of distortion at the edges of the image, which are cropped by cameras with the APS-C sensor, increases markedly and is clearly observed when sighted.
The level of vignetting is small; when the aperture is closed, the vignette does not play any significant role in real photographs. In backlit, the lens can produce an abundant amount of glare or even expose the frame. Probably backlit work is the weakest aspect of image quality.
Separately, I want to note quite nice bokeh and a nice picture overall.
Please note that my divine camera Fujifilm FinePix S5 Pro it does not have a fine-tuning focus, and therefore takes off with this lens with back focus (a common problem with these lenses). If the frame is out of focus, this means unsuccessful manual or automatic focusing. You can download RAW source files at this link (50 files in '.RAF' and '.NEF' format, 820 MB).
Pictures in the mini-gallery above were taken without a filter and a lens hood.
When used on full-frame Nikon FX cameras with an 'FX Format (36x24)' image area, extreme vignetting or completely black edges of the image will be noticeable at all focal lengths, all focusing distances and all apertures. Minimum vignetting is available at 135mm focal length, infinity focus, and f / 2.8 aperture. Using a lens hood or filters will only increase vignetting. Besides vignetting, the picture floats strongly around the edges of the frame. The lens is not designed to work in the 'FX Format (36x24)' mode and I am writing about it purely for educational purposes.
For full-frame cameras there are analogues from T0kina - Tokina AT-X PRO 80-200mm 1: 2.8 и Tokina AT-X AF SD 80-200mm 1: 2.8.
The lens does not have an image stabilizer; it is believed that this is a serious drawback for a telephoto lens. In real life, it’s enough to use a wonderful feature Auto ISO, which is on all modern Nikon cameras and get sharp hand-held shots in most photo tasks. On the cropped camera Fujifilm FinePix S5 Pro I easily shot 135 mm focal length and 1/160 sec.
An interesting observation... In terms of depth of field, the Tokina 50-135 f / 2.8 corresponds to a full-frame 75-200 / 4.2 lens (I emphasize - in terms of depth of field, not aperture ratio). Therefore, it will be a little easier for those who like to shoot with a blurred background to achieve blur in the background with any full-frame camera and a dark little old man. Nikon AF Nikkor 70-210mm 1: 4.
I really like the Tokina 50-135 F / 2.8, it is a really very good lens for Nikon DX cameras. It’s just a pity that all the lenses that came into my hands were on cameras Nikon D80, D90, Fujifilm FinePix S5 Pro, D700 (with focus adjustment disabled) obvious problems with focusing. The presence of the same problem is confirmed by the owner of the lens, when used on the camera Nikon D7100 with focus off disabled. If to discard this defect, then I like Tokina 50-135 F / 2.8 much more than Sigma 50-150mm 1: 2.8 APO DC HSM EX.
Personally, for all my love for this lens, after being 'burned' three times with a Tokina 50-135 F / 2.8, I would prefer to use something else instead. I envy Canon owners who shouldn't have such problems with focusing, and Pentax owners with their divine counterpart - SMC Pentax-DA * 1: 2.8 50-135mm ED [IF] SDM.
It is very strange that similar lenses from Tokina and Sigma are discontinued, and after all, on the crop there are so much lack of such focal lengths from such aperture.
Catalog of modern Tokina lenses can look at this link.
Comments on this post do not require registration. Anyone can leave a comment. Lenses and promotions on them look at Moyo.ua.
Tokina 50-135 F / 2.8 - excellent lens with few flaws. Unfortunately, I must note that lens versions for Nikon cameras may suffer back-focus (focusing error when the lens focuses behind the subject). This drawback can be partially overcome by fine-tuning the focus on those cameras in which it is available. Also, unfortunately, the lens does not have a focus motor, because a large number of users with amateur cameras of the Nikon D5X00, D3X00 series, D40, D40x и D60 will not be able to enjoy the work with Tokina 50-135 F / 2.8 and will look at the competitor - Sigma 50-150mm 1: 2.8 APO DC HSM EX (versions I and II). It’s also strange that such an interesting lens as the Tokina 50-135 F / 2.8 has already been discontinued, and finding it on the secondary market is not so simple.
UPDATE: the lens found its new incarnation in the field of video in the form Tokina Cinema 50-135mm T3.0.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram.
Thank you very much! Helped a lot!
Say be-weasel yak tsey about "Activate yourself" see "for 24 megapixels? Would you like to know that the Nikon d7100 won't have a “shake” effect?
After reading the guide, the Nikon AF 80-200mm f / 2.8D ED MKIII on the Nikon D7100 is not a penny? Explain why?
And only Fuji, with its divine Fujinon XF 50-140 mm f / 2.8 R LM OIS WR (and no less than the heavenly price) ahead of the rest))
Nice glass and just a pretty girl in the photo. This is not the first time that she adorns reviews.
What is the point of it if you do not get into focus with it?
First you can align.
Secondly, choose no front / back focus.
Thirdly, there is lavu. ;))
Surely it cannot be adjusted for the entire range - at some focal point you will hit, but not at the rest. Why carry such a fool in that case? Something I do not believe in "choosing" Arkady all got the same, it's not the spread of quality, but the fact that Nikon closed the specifications. I can hit it manually even without lava, if the object is not very fast. If you take something like a native, and so some torment.
1. it is a question of a practical solution to this issue. Who will check - he is great. At the same time, it is not always the case that the objectives being adjusted in the service center are "here it is, but there is no there." In addition, there is nowhere in the review about the “difference between back-front focus” at different focal ones. The issue can easily be solved by a bnal amendment in the carcass.
Relatives with similar focal and apertures - alas, no.
Hello. Thanks for the review - it's one of the most fundamental on the internet!
I have a choice to buy or not .. Found a used one, the owner says there are problems with focus.
I have Nikon 7000, I think that the problem with the focus is corrected but not completely
Or break this focus into Tokina 100 2.8 and Tokina AT-X 70-200mm f / 4 ???
I would break if there was such an opportunity
Hello. Please tell me, it is worth choosing which lens to buy. Do I have a Nikon D7000? I am a novice photographer, I usually shoot full-length or waist-length portraits. They offered to buy Tokina 50-135mm 2.8 for 25000. Is it worth taking? Thanks in advance.
Not worth it. Better take Nikon 85 1.8G for portraits.
I have a 35mm 1.8G. I would like to take some kind of zoom, the situations are different.
nikon 80-200 2.8 mk3 just right, well, either take this Tokin, and as described in my review, you will be tormented with focus.
Chased this lens for over a year. I bought it when I was still Canon20d, I couldn’t find fault with the accuracy of focus, exactly the same sniper accuracy as my favorite 17-40L. Now I have long been Canon7d, specifically introduced adjustment adjustments for all of its lenses, but Tokina remained at zero. It is a pity that such a wonderful lens has such problems with the Nikon system. I just don’t see an alternative to this Tokina, a wonderful picture and beautiful bokeh.
Faced a problem - it cannot be repaired in Ukraine. Dropped, the lenses are intact, and the notorious "eternal" metal cracked.
So now I am the owner of spare parts for this truly amazing lens. Whoever has one with broken or scratched lenses and other problems - let's negotiate :)
Hello . Tell me how the tokina 50-135 f2.8 lens behaves with a Canon 80d camera.
Yes, it's already 2018, and the old Tokina remains the same popular glass. It is a pity that such a miracle was removed from production and you have to chase it for a long time in the secondary market. I bought this lens a few months ago under d5200 with the prospect of switching to d7200. Despite the fact that it is already 8-10 years old this lens is in perfect condition, metal and glass, what else to say. Now about the picture. I started to get to know him in conjunction with the 5200. Those who say that the 24 megapixel matrix allegedly does not pull this stack (they say that such matrices need very high-quality glasses to reveal their full potential) - they are deeply mistaken! The picture is amazing. To be honest, I didn't even expect such results from this lens. I just wanted an inexpensive portrait light zoom, but I got a lens that you get real pleasure from working with. By the way, yes, even with a non-motorized d5200. I'm used to manual focusing in one shot. The power reserve is enough, as for me, with the head. The hitting accuracy is somewhere around 7-8 out of 10, you don't even have to use live view. The picture at 2.8 is really sharp, without exaggeration. And of course you have to pay tribute to the artistry. Draws softly and beautifully. Wonderful bokeh, reminiscent of old helios. In general, take it and do not think, for that kind of money there is no alternative.
I don’t know, the pictures that I downloaded here in the archive are all full sizes not sharp.
I’ll support it, I recently accidentally acquired this lens myself and didn’t regret it a bit. Focusing on the D7100 is fine without any corrections, the sharpness is wonderful even on F2.8, and even when covering the aperture in the studio, the picture becomes just razor sharp. Ideal for portraiture, replaces a bunch of very expensive fixes. It is these lenses that unlock the full potential of the D7100.
What do you think is worth the risk and take? To D7500 there is on ebay the seller says everything is smooth!
The d7500 has focus adjustment
Out of focus. Whether the D7500 matrix will allow the lens is still in 2006 and was not created at 20 mp then.
The lens is very sharp already at f2.8
on two cameras D7200 and D7500. A matrix of 24 million pixels perfectly resolves.
No corrections, all by zeros.
Focus is the most accurate. On my Nikkor 17-55 f2.8 on similar focal lengths 50 mm Tokina sharper, the picture is more plastic. I love this lens. He took it from him, for only 14 thousand rubles. Maybe it was just lucky with this particular instance.
Hello, Arkady. Interested in your opinion. I use d90 + 18-105 whale. I really want a faster lens. There was an opportunity to take the lens with you, you have to choose from two options: sigma 17-50 2.8 and tokina from this review. What do you advise?
I advise you to first decide on the tasks, because 17-50 and 50-135 well, completely different lenses.
50-135 under nikon problematic due to focus, I had it on d90.
The first task is to try other focal ones in principle), of course, you can continue to use what is, it seems to be tolerable. But I want to get a 'tastier' picture, but the whale has a usual picture ... I use the whale picture in a report, it's a bit dark, of course the sb 900 flash saves me, but it gets very hot for me and while it cools down, 'moments' don't wait) for portraits there is fifty kopeck, but in studios closely with him
Other focal attempts will not work, because 18-105 has almost the entire set of Sigma 17-50 and Tokins 50-135.
Under the flash, preferably a bright zoom, and also do not need to shoot at low ISO. D90 on ISO 800 with flash gives a good result. Try using flash in auto mode without TTLThis will help extend life without overheating.
Thanks for the flash advice!
I just think whether the difference will be so noticeable when changing the whale to 17-50, that it is worth spending 27000 (or 18000 if used). Or all the same, leave the whale for reporting, and dig it into a good one (which one?) That paints beautifully for portraits. I love my d90)) and I understand, of course, that perhaps we should look in the direction of ff, but so far I'm not going to, it’s expensive for me so far)
Arkady said the correct thought about Tokina's focus.
Yes, and Sigma 17-50 can be capricious. You need to check the lens operation on your camera BEFORE buying.
That's what I’m afraid of, direct testing of all focal ones, for sure? I’m afraid in a hurry not to notice some kind of flaw, I didn’t want to take it from my hands at all, but the hope that the copy will still be good, too)) used photographer sells how much he used
For a reportage 18-105 it is dark, even if with a flash - at d90 it is just torment. It is best to have a basic set of a light station wagon + one fix for creativity. Sigma 17-50 / 2.8 + some 50 / 1,4 or 85 / 1,8 just right. There was also a Yongnuo 100/2 with autofocus for a penny, which 100% on the d90 will work well.
And if you already have fifty dollars, does it make sense to add the mentioned 85th or Yongnuo to the 'collection'?
YN 85 under Nikon is not released. There is only 100/2, pretty good.
Kaleinal 100 / 2.8 was also offered, but it seemed to me that 5000 rubles was expensive for a Soviet manual ...
Kaleynal is certainly a force)))
In general, I would like to note the following. The firm of Tokina on the threshold of the tenths of the 21st century finally and irrevocably left the American rental photo and video offices. The reason is the quality of the products.
Arkady, of course it is possible to call the divine glass penta, but only without dealing with it.
The feature is that the base motor burns out in a five-year period, then ALL users are reflashed to a screwdriver. Exceptionally, everything that is resold is already flashed. Very little hype about this on this side of the ocean - THERE on the pipe has long been put.
The situation with the version for Boots is catastrophic - Tokina simply does not have any service, the guarantee is more expensive to repair than a new one - after a motor failure in Sapozishche, the pipe goes to the manual-open section))).
So it goes.
If you buy it only for Nikon. Only !!!
Again. About snot about bokeh sharpness and so on I omit. Only about constructive. He is terrible in the details. Although in general it is on the SCREWDRIVING versions of this glass that you can work on except and put a bolt on everything. The price tag on Penta is 50-135 sacrilegious, and this is a complete copy of Toki. If the currents are for 300-350 per ru, then the penta is from 550 and higher. Boo. Good luck to all.
Good day, can you advise
It is possible to take the D7200 with Tokina 50-135 f / 2.8 PRO DX
Or is it better to take the same D7200 with tamron or sigma 17-50 f2.8 and buy another telephoto?
Hello, Arkady. We need a zoom on the D7000 for specific shooting (shooting wakeboarders from a boat, removing 18 m + speed). Here I am faced with the choice of sigma 50-150, tokina 50-135, or all the same Nikkor 80-20 (though the focal lengths on the crop are too large). Please advise, otherwise I’ve broken my whole head !!!
for working better nikon 80-200 mk3 and above did not come up with anything
Hello to all.
I am the lucky owner of Tokina. This is the best lens I've come across. No problems with focus, excellent sharpness, no noise, just amazing draws. Works in tandem with NIKON D7000 mostly portraits. There is only one problem - the room is simply sorely lacking in space. There is a TAMRON 17-50 but this is not the coat.
Some kind of ambiguity in the lack of a gallery of pictures.
On the one hand you write "my divine camera Fujifilm FinePix S5 Pro"
and “in the gallery above were shot with a Fujifilm FinePix S5 Pro”
on the other hand, you attach the sources from the D700.
There are pictures on both C5 and D700, I don’t understand what’s wrong?
There is no clarity.
Instead of “50 files in '.RAF' and '.NEF' format with D700. 820 MB)
should be “50 files - 820 MB ('.RAF' with S5 Pro and '.NEF' with D700.)”
Yes, only if
"All photos in the gallery above were shot with Fujifilm FinePix S5"
What kind of D700 can we talk about?
Already went such a booze:
“Shoots with this lens with back focus (lens error)”
need to fix on
“Shoots with this back focus lens (defect in my copy)”.
And then it seems that you are shooting on the Nikon 1 J1,
where such an inscription on the screen is a common system response.
RAF is this: https://ru.wikipedia.org/wiki/Рижская_автобусная_фабрика
And in digital photography - RAW.
ahaha, RAF (RAw File) is the extension of Fujifilm S5 Pro RAW files. For example, like Nikon is NEF
Clear. And when you and I discussed this earlier, I took your words as a joke. Now I know.
But this is really funny.
Arkady, but the link to download files does not work ... No other?
bokeshka about nothing
I didn't like the photos. My broken-down 18-105 suits me better.
I bought this Tokina for 222 bucks (in exchange for Nikor 85 / 1.8 - he swung to run) under the D7500. No back or front focus! The bokeh is amazing, the picture is voluminous, constant aperture, etc. There is no stub, but the weight helps to keep it without shaking. You can safely shoot at 1/30. Price-Quality in no competition. Why is there no update to such a wonderful glass ... Marketers, damn it :-((