Review Tokina AT-X PRO 20-35mm 1: 2.8 235 AF

For the opportunity Tokina AT-X PRO 20-35mm 1: 2.8 Lens Review many thanks to Ivan, web studio McSite.

Review Tokina AT-X PRO 20-35mm 1: 2.8 235 AF

Review Tokina AT-X PRO 20-35mm 1: 2.8 235 AF

Tokina AT-X PRO 20-35mm 1: 2.8 a very high-quality wide-angle zoom lens in terms of build level and image level. The optical design includes 15 elements in 11 groups, two of which are aspherical. The lens is labeled F&R Aspherical, which indicates that the Front and Rear elements are aspherical and designed to reduce spherical astigmatism. Almost all elements of the optical circuit are multi-coated. Also, you can find the inscription 'Japan', which most likely indicates that the lens was made in Japan.

View of the Tokina AT-X PRO 20-35mm f / 2.8 235 AF lens

View of the Tokina AT-X PRO 20-35mm f / 2.8 235 AF lens

Assembly

The Tokina AT-X PRO 20-35mm 1: 2.8 235 AF lens has superior build quality. All metal lens duralumin alloy. In the hand immediately felt a huge weight in 590 grams at small sizes. The focus and zoom rings are rubberized. The lens has no backlash, the Tokina AT-X PRO 20-35mm 1: 2.8 235 AF is just a solid piece of glass and metal, which, in fact, is not surprising, because the lens belongs to the professional AT-X PRO series of lenses. The lens comes with a small hood that can be put on the lens backwards.

View of the Tokina AT-X PRO 20-35mm f / 2.8 235 AF lens

View of the Tokina AT-X PRO 20-35mm f / 2.8 235 AF lens on the Nikon D80

Focusing

The lens has internal focusing and internal zoom. When focusing and when zooming, the lens does not change its size, and the front lens does not rotate. This is a very good indicator. When zooming, only the back group of lenses moves.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Auto Focus with Tokina AT-X PRO 20-35mm is very fast. The lens focuses with virtually no errors. The manual focus ring rotates approximately 45 degrees. Focusing manually is very convenient. The lens has an unusual method of switching the focus mode, so in order to switch from the automatic focus mode to manual, you need to pull the focus ring. This mode is called Focus clutch mechanism and is quite common with Tokina lenses. The minimum focusing distance is 25cm, which is not a particularly good indicator for a wide-angle lens. Sometimes, to create an interesting composition with an unusual wide-angle perspective, a close focus distance is not enough. By the way, the native lens Nikon AF NIKKOR 20-35mm 1: 2.8D with MDF is still worse.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Attention 1:

AF / MF switch only works in a specific position of the focus ring. It’s not possible to switch the lens from auto focus to manual just like that. Special Switching Position AF / MF the lens 'remembers' when it switches from MF to AF. For example, you converted the lens from MF to AF at a focusing distance of 1 meter. To return the lens to MF mode, set the focusing distance to 1 meter on the lens again and pull the ring towards you. In AF mode, the focus ring rotates but does not focus. I advise you to always switch from MF to AF in the focus position at infinity, so that you do not look for that special place for a long time.

Attention 2:

To switch to manual focus mode on cameras with a motor, you will have to not only switch the focus mode on the lens, but also switch the focus mode on the camera using the lever near the camera mount. If this is not done, then with manual focus, the focus ring will rotate the focus motor through a screwdriver, which can damage the camera.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Example photo on Tokina AT-X PRO 20-35mm F2.8 235 AF. Easy software

Attention 3:

At first, such a strange switching mechanism made me very nervous, as it was very difficult and generally impossible to quickly switch the lens to manual focus, which is very important at a wide angle. But you can quickly get used to this property.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Attention: 4

The lens has aperture control ring. To get access to automatic iris control on the camera, and in general, for the lens to start working on a modern Nikon camera, you need to set the aperture value F / 22 and click on the special switch on the lens.

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:

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.


Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Example photo on Tokina AT-X PRO 20-35mm F2.8 235 AF. Bokeh

Diaphragm

The lens has a maximum constant aperture of F / 2.8 over the entire focal length field. The minimum aperture, too, is constant over the entire focal length field, and is F / 22. A wide-angle high-aperture lens is quite difficult to make. The number of diaphragm blades is 8 pieces. It's not customary to talk about bokeh in wide-angle lenses. The front filter diameter is 77mm, which is often considered 'professional'. I have not used a lens with light filters, so I cannot say about the effect of filters on vignetting.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Application

At full frame, the Tokina AT-X PRO 20-35mm 1:2.8 235 AF lens can be used as an ultra wide-angle lens at 20mm. The lens is suitable for landscape photography and reportage photography. On the crop EGF lens will be 30-52mm and can be used as a good wide-angle. For APS-C Nikon DX cropped cameras, Tokina has an analogue Tokina AT-X PRO 20-35mm 1: 2.8 235 AF - this is very high quality Tokina AT-X 124 PRO DX II 12-24mm f4 for Nikon.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Image quality

At 2.8, the lens is slightly soft, even in the center, across the entire field of focal lengths. But closing the aperture to 3.5, you can get a good sharp shot. At the corners, sharpness falls, vignetting appears. On closed apertures, the lens is very sharp in the center and sharp throughout the field. Tokina AT-X PRO 20-35mm F / 2.8 conveys contrast well, is not afraid of backlight, but catches hares. Of course, the lens has distortion, but the distortion level is very small for such a wide angle.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Example photo on Tokina AT-X PRO 20-35mm F2.8 235 AF. Backlight and glare.

Personal experience

The Tokina AT-X PRO 20-35mm 1: 2.8 235 AF is a good professional lens, it's a pity that there is a little softness at F / 2.8. For that kind of money, it is very difficult to find something better, for example, the native analogue of Nikon 20-35mm f / 2.8 AF-D costs much more. If the working aperture of f / 2.8 is not so important, then you can look towards this lens.

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF

Sample photo on Tokina AT-X PRO 20-35mm F2.8 235 AF


Sample Photos

All photos in this review without processing, taken with a camera Nikon D800 JPEG JPEG L, VI. In the gallery below the photos are reduced to 3MP and the data from EXIF.

Catalog of modern Tokina lenses can look at this link.

Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.

Conclusions

Tokina AT-X PRO 20-35mm 1: 2.8 235 AF is a fast wide-angle professional zoom lens for full-frame cameras that attracts with its good build level and good image quality. For cropped cameras, the lens will not be so good, since all the charm of a wide angle is lost on cropped cameras.

Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram

Add a comment: Michael

 

 

Comments: 60, on the topic: Tokina AT-X PRO 20-35mm 1: 2.8 235 AF review

  • Ivan

    It was interesting to see the pictures from this lens in full frame. Compared to crop, of course it is significantly different. And by itself distortion is already noticeable, and vignetting is not so noticeable yet. I thought it would be worse.

    But the crop is the usual width, but distortion is almost invisible. I can also add that when you shoot people at 2,8, then its softness is even more pronounced than in landscapes, which of course does not please. Tokina also has a similar Tokina ATX Pro 20-35 / 3,5-4,5 lens, they say that it is sharper than this lens. But I still like this one, because the constant aperture allows it to be used also for shooting video.

    • kotofei

      What kind of video? There are 10-18 STMs for videos. Yes, cropped, yes, dark - so what?

  • Slam

    Arkady, my admiration! Over the past month, reviews are not long in coming! I do not have time to think everything over!) Thank you!

    • Arkady Shapoval

      It's my pleasure :)

    • R'RёS,R ° F "RёR№

      I agree with you! Man works like a machine. Sometimes there is no inspiration to shoot something, but Arkady still needs to think over everything, compose and write - the property of a real pro.

  • Tatyana

    Tell me please! such lenses will fit nikon d7000 - soligor s / m zoom + macro 28-70mm 1: 3.9-4.8, smc Pentax-M 1: 1.7 50mm Japan lens, Tokina SD 70-210 1: 4-5.6 Japan lens, RMC Tokina lens 35-70mm 1: 4? Got it for the occasion as a gift))) at 5100 they do not fit at all? Thank you for your attention! And for your site))) !!!!

  • pilotkins

    And if all the charm is lost on the crop? Well do that? alternative?

    • anonym

      probably buy FF)

  • Shurik

    where I can not find comparisons Tokina AF 20-35mm f / 2.8 pro AT-x vs Nikkor 20-35mm f / 2.8 D. Which one will be faster and more beautiful? I understand that Nikon will not have software on 2.8 ???

  • +100

    In the review, the photo was taken in conjunction with the Nikon D800. Actually the question is, how does this lens behave with a multi-pixel matrix? How is it with resolution?

  • Nicholas

    It turns out that since he has an aperture control ring, can he be used without sorrow through an adapter with a full-frame Canon camera?

    • Arkady Shapoval

      yes you can.

  • Mark

    Excellent glass, sharp picture from 3.5 checked. The color rendering is excellent. The contrast is mediocre but easy to edit in photo editors. Long sought shirik on the D700. Of the options was 24mm 2.8D fix. But I liked the very strong blurring of the corners. This Tokina is 5.6 and higher than Nikonovsky fix. Of the minuses, 2.8 is not working, a very strong soft effect, perhaps due to internal reflections or with enlightenment, they were wise because the sharpness is. I think 20 megapixels is the maximum for him. He is heavy. And the minimum focusing distance is 0,5 meters and not 0,25. I don’t know where it came from. Himself measured with a tape measure. There in reality about 48cm from the object to the matrix. Price / quality is perfect.

    • a2000s

      I fully agree with your assessment of the lens. However, I believe that the soft effect is not so scary at 2.8, if you understand how to use it. Thank you for such an objective assessment. This glass itself since its release (for Pentax) and there has never been a reason to regret its acquisition /

    • Pokemon

      Yes, the English-speaking owner confirms your opinion on MDF and Ken Rockwell's statement that Tokina was mistaken with the number, that the aperture 9 is petal:
      “I confirm it has 9 blades (not 8 as show in official Tokina spec).
      The drawback is that the minimum focus distance is arond 0.45-0.5 m (it is not 0.25 m!) "

  • anonym

    Arkady tell me, does it make sense to change Sigms 18-50 f 2.8 DC to this? We just have this one on sale in our city, but I don’t need Sigma after switching to FX

  • Sergei

    I am faced with a choice between this lens and nikon 20-35 2.8. There will be the first shirik for d700. I bow to the first as there is a choice from several unlike nikon. Yes and the price is certainly more pleasant. I remove basically street for the soul. But there are also commercial in narrow rooms. of the available good 50mm 1.8g. as well as 35-70 dark little one. I understood that it gravitates towards a moderate wide angle and it will come in handy in holturs.

  • koba

    One important point: this lens has a Hard-Stop mechanism for instant and accurate focusing at infinity, which is especially very important for a wide angle. It also indicates that the lens uses very durable materials and is calibrated by the manufacturer with laboratory precision to infinity. It produces a very good picture, at 2,8 at such a wide-angle it is very quickly needed, and even at this aperture you can get excellent pictures, especially if you consider that usually at such aperture something is shot in the center of the frame, and the rest of the area is already in defocus required. The construction of the lens is purely professional, and the price is half the price of Nikon's analogue (although the latter produces just a wonderful picture, much superior to almost all modern wide-angle zooms!) ...

  • Dima

    I took the same test, let's see the result)

  • anonym

    tell me which hood can I choose for it?

  • anonym

    Is HB 8 suitable for Nikon?

    • Michael

      BH-773

    • Pokemon

      BH-771

  • anonym

    Is HB8 suitable?

  • Nick

    Where can I see more examples of pictures, but on the new fotik and canon full frame?

    • Pokemon

      Possibly on flickr. But this is not a new lens and there are fewer of them left alive under Canon than under Nikon. Tk under Nikon they are made with a "screwdriver".

  • Alexander

    Forgot about HA write.

  • Pokemon

    I read his review of Ken yesterday.
    He writes that the aperture is actually 9 blades, and at 2.8 for the Coma lens.
    I really like the old Tokins of the ATX-Pro line, but it is embarrassing that many people write about this lens that even on f / 8 it is too soft in full frame. Even the owners of 5DMk2 lacked its sharpness.

  • Vadym

    Can you say something about “Sigma AF 17-35mm f / 2.8-4 EX Aspherical”? There are no good tests anywhere :(
    Thank you

  • Pokemon

    Today I got this lens for Nikon mount.
    A kind of soft picture throughout the frame.
    From the pros - diminutiveness (this is subjective, because I'm used to large lenses).
    There is a feeling that the lens was designed for film without taking into account modern requirements.
    There is a feeling that it is darker than it actually is (i.e., T is not 2.8, but closer to 4, IMHO).
    This lens is not recommended for landscape photography on D600-D610-D750-D780-D800-D800E-D850.
    Enlightenment was alarmed - as if it did not exist Well, usually the lenses are cast yellow / green / pink, but here it is not.
    The lens is very afraid of backlight and any bright light, which is immediately reflected in the photo, as well as loss of sharpness.
    Shining through it through the light with a headlamp LED lamp (which I usually look for fungus on all Tokins), I caught a hare in the eyes and went blind for a couple of seconds - this has already happened with ... Helios 44M-7 and with no one else before.
    The picture is a bit opaque (I will try again).
    The build is really high quality.
    In terms of sharpness, I've seen recommendations to close the aperture to 10-11.
    On D4 at f / 8.0 there was a soapy picture at all focal lengths, with f / 9.0 it got better, but ... questions remain.

    • Alexey

      well, you know the word - "tokina glow", it characterizes all tokins. this is neither good nor bad, this is a feature of this optics. someone like it. but the fact that it is soapy at 8.0 and needs to be clamped harder is already strange, although I did not hold such glass in my hands. there already DLA will begin to affect if you clamp so hard. maybe the copy is faulty?

      • Pokemon

        I will continue to test.
        Here's an overview, though on crop:
        https://periscope.com.ua/obektivy/obektiv-tokina-x-pro-20-35mm-128-235-af
        I have been looking closely at 20-35 / 2.8 for a long time and read a lot about this lens, in all the reviews there is about one piece of advice for both crop and ff - aperture for landscape 9-11 or even 13.
        I am pleased with 28-70 / 2.8 and 28-80 / 2.8, let's see how it goes with this lens.

        • Alexey

          but they did not say on what matrix they advise this? because the limit for 18MP crop is 7.1 calculated, 8.0 practical, and for 20MP FF the limit is 10-11, but no more. while on crops with 10-12MP you can clamp it up to 13 - diffraction will not be visible yet.

          • Pokemon

            Since the lens is old, the reviews are mostly old - 7-10 years and older.
            By ff cameras came across reviews from the owners of the D700 or 5Dmk2.

          • Pokemon

            Here's what Ken writes:
            Sharpness
            As seen on a 12MP FX Nikon D3:
            https://www.kenrockwell.com/tokina/20-35mm-f28.htm
            (here's what he writes about Tokina 20-35 / 3.5-4.5: This Tokina is precise, too: everything moves smoothly and without play. It's a lot sharper than Tokina's 20-35mm f / 2.8 AT-X PRO, which sells for three times as much.)
            At 20mm
            f / 11: Optimum, but no prizes.
            At 26mm
            f / 11-16: Optimum, but far from great.
            At 35mm
            f / 11-16: Optimum, but no prizes.

            • Pokemon

              I also saw reports that the 20-35 / 2.8 has back focus and was recommended to experiment with adjusting af, which I will try to do this weekend.

            • Alexey

              ha, there on 12MP FF the pixel is so zhyyyr that the differential threshold there will be very far away (too lazy to count), there is about a hole of sixteen - I believe. but, this is not glass, but horror. I have Zuiko 28 2.0 already at 4.0 has per-pixel sharpness even at multi-megapixel crop, and 5.6 sharpness on a full frame has nowhere to go. clamping it even to 8.0 makes no sense, except to increase the depth of field, and here, to 16…. juit ...

              • Pokemon

                On D4 - 16MP, which is not much more than on D3.
                The most striking thing is that I did not see the devastating criticism of the lens - despite the criticism of the low sharpness of the lens, everyone liked it for the plasticity of the picture.
                Amazing nearby. The lens requires getting used to and understanding, so I will torture it on the weekend.
                PS> On Fuji S5Pro it is categorically impossible to hang it because of the thick filter on the matrix. I saw the photo on a sunny day at f / 5.6 - everything is very bad.
                Hmm.

    • Pokemon

      I forgot to add - the lens has non-irritating distortion in the full frame.
      And another such moment - on my D4, all Tokins (28-70 / 2.8, 28-80 / 2.8 and this one from the review) require an adjustment of -0,7EV when shooting. On this one too. No adjustment was required on the D750, nor on Fujah. This is probably a feature of the D4's work with the lenses of this company. Only Tokin demanded such an adjustment over the past 5 years. Nikkora and Sigma - maximum -0,33EV

      • US6IBD

        Why only on Tokin? I never noticed. I mainly use spot metering and ALWAYS set -0,7EV when shooting in the daytime, regardless of the lens: Tokina (28-70 / 2,8) or Nikkor (50 / 1,8D). This is a general guideline for shooting on a sunny day.
        I think if you put matrix exposure metering (over the entire field of the frame), no adjustment is required.
        For the sake of interest, I tried 4 lenses right now: to the above + Jupiter 37 and Tamron AF SP 90 / 2,8. Now there is not enough light and did not make any correction. All shots are equally exposed.
        In mode A, shutter speed on Tamron, Tokin and Nikkor was the same 1/30 at ISO 1000 and aperture 2,8. But with an aperture of 3,5, the shutter speed with Jupiter 37 turned out to be 1/50 and the picture itself was slightly lighter. The explanation is simple - I have Jupiter without a light filter, and the filters “steal” light.
        Exposure on a fifty dollar home interior was 1/320 with a UV filter and 1/800 without it.
        So there are practically no differences between different lenses in terms of influence on exposure.
        I shoot with D610.

        • Pokemon

          Usually, I have matrix metering in the camera settings, according to the situation I set it to spot or center-weighted. On D4, the matrix was 90% enough, it is very accurate and always pleases.
          However, D4 doesn't like Tokin. He updated the firmware, reset it to the factory settings.
          Does not help. I put different UV filters and tried without them too - to no avail.
          AT-X Pro 28-70 / 2.8, 28-80 / 2.8, 20-35 / 2.8 always have to set -0,7EV, otherwise the photo will be overexposed by 0.7EV (sometimes by 1EV)
          Nikon D750, Fuji S3 Pro, Fuji S5 Pro for Nikon 28-70 / 2.8 and 28-80 / 2.8 mounts worked correctly. The light meter didn't lie. I have a Tokina 28-70 / 2.6-2.8 under Canon - the exposure meter 1Ds_mk2, 1Ds_mk3 does not lie. Film light meter EOS 50e, EOS 5, EOS 3 also work correctly with it. This is probably the peculiarity of working with Nikon D4. But if you remember about this feature, then the frames are pleasing.

          • Pokemon

            Above photo from D4, as it is without processing, just distilling nef to jpg in Capture NX.
            And below is a photo on S3Pro. Also Tokina 28-70 / 2.8 AT-X Pro. I just pointed and shot, and this is a camera jpg, one of the first test photos with this camera.

          • US6IBD

            Perhaps this is really a feature of D4 when working with Tokina.
            There is no problem on the D610. By the way, in the morning before going to work, I managed to take two pictures in a bright sky with spot metering and matrix metering. On the matrix everything is OK, on ​​the spot light by 0,7EV.

            • Pokemon

              I tried to experiment in different ways with the exposure meter, it seems that the D4 exposure meter does not work quite correctly with the lenses of this brand, since switching the exposure meter from matrix to spot does not give a difference in exposure, which is strange. In general, you can live.

  • Pokemon

    I continue to torment Tokina 20-35 / 2.8
    By experience I found out that the working (for me) starts somewhere with f / 10 at all focal lengths, and at 20-24mm it is better to cover up to 11, as well as in the entire range.
    The hood is funny and doesn't save you from hares, especially if the sun is in the corner of the frame.
    Thick UV filters do not help, but you get a little artistic picture :)
    20mm / f / 11
    Sharpness due to the sun in the frame falls, of course, but not critical.

    • Pokemon

      20mm f / 11
      Tokina 20-35mm/f2.8
      The test is so simple from the balcony, but illustrative. Transfer from nef to Capture NX-D

      • Pokemon

        24mm f / 11

        • Pokemon

          28mm f / 11

          • Pokemon

            35mm f / 11
            Camera, as in previous photos - D4

            • US6IBD

              The same trouble on Tokin 28-70 / 2,8 - does not like backlight. The enlightened polaric B + W does not help either.
              Surprisingly, the cheapest Nikkor 50 / 1.8d with the simplest UV filter doesn't even reduce the contrast.

              • Rodion

                So how many lenses are in these zooms, and how many are in half a shot. Hares do not appear by themselves, their number does not depend on the price, but on the number of air-glass boundaries and on their shape.

              • US6IBD

                I will not argue about the number of lenses, but it is expected that in prof. lenses, high-quality multilayer glass coating should reduce the negative effect when shooting against the sun.

              • Rodion

                I doubt that there is “prof. enlightenment "and" non-professional. " Saving on matches would be.

              • Pokemon

                My 35 / 2d also very calmly tolerated backlight and sun in the corners of the frame.
                A similar story as with hares on Tokin saw on Sigma EX DG Macro 24-70 / 2.8

              • US6IBD

                Classical antireflection works on the principle of interference - rays reflected from the film surface and from the film-glass interface fold in antiphase and are mutually absorbed. In cheap lenses, the coating was made single-layer and it had a narrow spectral range. To cover the entire range of visible light, 3-4 layers of antireflection coating of different thickness are required - for each spectral area its own layer. In modern lenses, 6-8 layers are made.
                In professional lenses, they do not save on enlightenment!
                There are other ways of enlightenment - microtextural, polarization and gradient. But interference is the main method.
                In the Soviet period, lenses with a three-layer coating were designated by the MS index. Jupiter 37a was produced with a single-layer coating (without MC in the designation) and with a three-layer coating. The price was almost 2 times different!

            • Expert

              Soap on all focal lengths, worse than a whale.
              Radozhiva again reviewed an obsolete and useless lens

              • Dmitry Kostin

                The fact that the lens is not sharp was already written about 10 years ago at various photo forums.
                Someone said that inaccurate focus - there really were moments with front / back focus.
                Ken Rockwell writes that on his 12MP D3 this lens is: “f/11-16: Optimum, but no prizes.” and that it's less sharp than the competition: "Nikon 20-35mm f/2.8 AF-D and Nikon 17-35mm f/2.8 AF-S". But these competitors are in good condition and cost different money (Nikkorov 17-35 / 2.8 still have motors dying).
                https://www.kenrockwell.com/tokina/20-35mm-f28.htm
                I can say that the corners and edges are less soapy than the Canon 17-35 / 2.8L at the same focal lengths (at 1Ds_mk2). These are lenses of film times and it is difficult to demand razor sharpness from Tokin.
                And then, a lot of time has passed, the lenses of those times in perfect condition can no longer be found. I tried 2 such Tokins. It suits me that the lens does not suffer from criminal distortion, does not turn yellow like the Sigma Zoom 15-30 mm DF 3.5-4.5 DG EX (which I also had). This Tokina is “lighter” than the Sigma 15-30. I had a Nikon Nikkor 17-35 / 2.8D (the one with a chic leather wardrobe trunk upholstered in velvet on the inside). This is a great lens. But it is noticeably larger, 200 grams heavier and ... it does not give razor sharpness either. Instances 17-35 / 2.8D with live engines now cost more than 40 thousand rubles. But the motor will still whistle - it's a matter of time.

              • B. R. P.

                The main thing is not this. The main thing is that they delivered their verdict.

              • Victor

                Yes, not to say what soap is, except perhaps on open ones. Well, this is understandable, old, inexpensive shirik, what else can you expect from him? But you can hide almost always, right?

                There are other problems here, more noticeable - a lot of hares and a significant decrease in contrast, namely, I personally would not worry about the “soap” on this model, the main thing is that there is a picture in front of the lens.

  • Dmitry Kostin

    I managed to get another copy of this lens.
    It turned out to be a little sharper, a little more contrast and a little more tolerant of the sun from the edge of the frame.
    It seemed to me a little more focused.
    Compared in pairs.
    In my opinion, this lens is hardly suitable for 24-25MP ff cameras, IMHO it will not resolve the matrix.
    The hood on the lens is controversial - it does not protect against anything.

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