According provided by Tokina AT-X PRO 80-200mm 1: 2.8 for Nikon lens huge thanks to the store www.fotika.com.uawhere you can find a huge number of different used photographic equipment.
Review Tokina AT-X PRO 80-200mm 1: 2.8
Tokina AT-X PRO 80-200mm 1: 2.8 lens, often referred to as 'AT-X 828 AF PRO', replaces the older version - Tokina AT-X AF SD 80-200mm 1: 2.8... Tokina AT-X PRO 80-200mm 1: 2.8 is a fast telephoto lens with 2.5x zoom. In our time, its release has been discontinued. A version for Nikon cameras came to my review (there is an inscription N / AIS - Nikon AIS behind the lens). Like other third-party camera manufacturers, Tokina has produced this lens for other systems such as Canon, Pentax and Sony / Minolta.
Main technical characteristics of Tokina AT-X PRO 80-200mm 1: 2.8 N / AIS
| The name of the instance from the review (as it is written on the lens itself) | Tokina AT-X PRO 80-200mm 1: 2.8 N / AIS 5709541 ø77 JAPAN (official name Tokina AT-X 828 AF PRO) |
| Basic properties |
|
| Front Filter Diameter | 77 mm |
| Focal length | 80-200 mm EGF for Nikon DX cameras is 120-300 mm. For DX cameras, see analogue - Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS. |
| Zoom ratio | 2,5 x |
| Designed by | for Nikon digital and film cameras with full-format sensor |
| Number of aperture blades | 9 straight petals |
| Tags | scale with focusing distance in meters and feet, focal lengths for 80, 100, 135, 200 mm, bayonet mount mark. 3 marks for the correct orientation of the tripod foot. |
| Diaphragm | from f / 2.8 over the entire range of focal lengths to f / 32. There is an aperture control ring with values of F / 2.8, 4, 5.6, 8, 11, 16, 22, 32 without the ability to set an intermediate value by this ring. The ring is locked with a special lock in position F / 32. |
| MDF (minimum focusing distance) | 1.8 m, maximum magnification ratio achieved by 200 mm |
| The weight | 1350 g |
| Optical design | 17 elements in 11 groups. The scheme includes 1 low dispersion element 'SD' (Super Low Dispersion) (shown in blue in the optical diagram)
The image of the optical circuit is clickable. Most likely, the optical scheme repeats the lens Tokina AT-X AF SD 80-200mm 1: 2.8 and manual Tokina AT-X SD 80-200mm 1: 2.8. |
| Lens hood | MH774N. The lens hood is screwed into the front filter thread |
| Manufacturer country | JAPAN (serial number on the end of the tripod foot) |
| Period | Produced since 2004 (the time of the end of production is unknown). The lens is now discontinued and is an archive model. For summer 2016, Tokina does not have a full replacement for this lens. For Nikon DX cameras in the fall of 2006, an alternative was released - Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS. |
| Price | View -> |
Tokina AT-X PRO 80-200mm 1: 2.8
The Tokina 80-200 / 2.8 lens is mainly made of metal, with a huge (77 mm) front lens and a weight of 1350 grams. A solid assembly is felt to the touch and when used, to which there are no complaints. The focus ring and zoom are rubberized and pleasant to the touch. On the lens case there is a non-removable tripod foot, which rotates 360 degrees around the axis of the lens and is fixed with a washer-clamp. Also, on the case you can find three marks-strips, which, when compared with the white mark-point of the clamp on the tripod foot, make it possible to quickly turn the lens into a landscape or portrait position.
Tokina AT-X PRO 80-200mm 1: 2.8
The case has a focus distance scale in meters and feet, MDF is 1.8 meters (like the version Tokina AT-X AF SD 80-200mm 1: 2.8) The zoom at the lens is internal - when the focal length is changed, the lens does not change its size. When changing the focal length, as well as when focusing, the rear lens remains stationary, which completely deprives the lens of the 'vacuum cleaner effect' and, therefore, reduces the possibility of contamination of the insides of the camera. It's a pity, but the lens can spontaneously change its focal length under the weight of its own lenses. If you set 200 mm of the focal length and tilt the lens down, the focal length will slowly slip by 80 mm.
Tokina AT-X PRO 80-200mm 1: 2.8
Auto focus is not fast, and I was a little upset. When focusing, the front lens rotates and moves in the middle of the lens barrel, but due to the successful design, this does not hurt when using special filters (the thread under the filter remains stationary). During auto focus, the focus ring remains stationary, it can be rotated, but this will not affect the focus. During manual focusing, the ring can be rotated 90 degrees; when extreme positions are reached, the ring stops.
The AF / MF focus mode switch is the same as most modern Tokina lenses - to switch to manual focus mode, pull the focus ring towards the camera mount.
Tokina AT-X PRO 80-200mm 1: 2.8
A solid metal lens hood usually comes with the lens (the lens came to me without a lens hood), while the lens hood is threaded (screwed into the thread of the front filter). For example, a pretty old native Nikon ED AF Nikkor 80-200mm 1: 2.8D (MKII) 1992 release, and he has a bayonet hood (in special grooves). The bayonet hood can be removed or installed much faster.
Tokina AT-X PRO 80-200mm 1: 2.8 and Nikon ED AF Nikkor 80-200mm 1: 2.8D (MKII)
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
- Df
- 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.
During focusing, the lens is pretty noisy.
The lens has a manual aperture ring. To be able to control the value aperture from camera or for automatic installation aperture on modern central control valves, you need to turn the control ring to F / 32 and fix it with a special lever, which is located to the right of the marks aperture. You can read more about this issue in the section on Non-G Lenses. The diaphragm consists of nine petals.
Tokina AT-X PRO 80-200mm 1: 2.8 (left) and Nikon ED AF Nikkor 80-200mm 1: 2.8D (MKII)
Image quality
At open apertures, the lens is weak. In the range after 135 mm at F / 2.8, the classic Tokin "soft" (loss of sharpness and contrast) appears. The lens does not tolerate backlight well (shot against the sun) With closed apertures, sharpness returns to normal, but still at 200 mm focal length, even with closed apertures, it is difficult to achieve ringing sharpness. Tokina AT-X PRO 80-200mm 1: 2.8 suffers from severe chromatic aberration. But not everything is so bad, the lens has a nice design, and a 200 mm lens tightens the bokeh. Due to the low sharpness, the Tokina AT-X PRO 80-200mm 1: 2.8 is often suitable only for portrait shooting (where sharpness is not needed). It takes a long time to get used to the picture with Tokina AT-X PRO 80-200mm 1: 2.8.
Examples of photographs (shot on different copies of Tokina 80-200 lenses):
- On open diaphragms: Link to the archive with the originals - 542 MB, 41 photos in .NEF format, (RAW) from the camera Nikon D700 (FX).
- On different apertures: Link to the archive with the originals - 320 MB, 29 photos in .NEF + JPEG format, from the camera Nikon D700 (FX).
- On different apertures: Link to the archive with the originals - 470 MB, 46 photos in .RAF + JPEG format, from camera Fujifilm FinePix S5 Pro (Nikon DX).
Tokina AT-X PRO 80-200mm 1: 2.8 on the ZK
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.
Results
Tokina AT-X PRO 80-200mm 1: 2.8 is a very high quality lens. The unit I reviewed is weak at f / 2.8 in the range beyond 100mm. Instead of the Tokina AT-X PRO 80-200mm 1: 2.8 I would recommend looking for a native 'push-pull' lens Nikon ED AF Nikkor 80-200mm 1: 2.8D or look towards inexpensive Sigma 70-200mm 1: 2.8 APO EX HSM.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram.
Bravo!
How do you know what it is on the covered aperture?
Maybe one of the users will unsubscribe, or then they will fix it, once again I'll take it for review.
I get to the computer, once again I will review the pictures, and on the phone everything looks incredibly sharp and beautiful.
What is the point of taking a lens with a faulty aperture for a review, or did you only notice it later?
Only later :)
“In the end, I was upset that I didn’t take my Nikon ED AF Nikkor 80-200mm 1: 2.8D, which is a cut above F / 2.8 in image quality.” It seems to me that "NOT" after "WHAT" is superfluous
It does not seem to me, and I am sure that in this case everything is correct.
:)
Ahah comedian! A little more carefully you need to read reviews and delve into the gist.
In my opinion, the photos are very interesting, it is not very clear what does not suit
As for me, very good quality. True, that Nikon 80-200 is still better.
slag lens ... chromatic aberration is just tin ... and the picture from it is flat horror. somewhat reminiscent of the whale nikkor 18-200 3.5-5.6G VR, except for the bokeh of course ...
Could you tell me which camera the 18-200 comes with, that you so boldly cover it with a “whale”?
I will tell you, with your permission. This is, for example, D200.
Hm, really. I'll know.
In the states, stick yoshov kit z D90.
Just those lenses that chromate usually preserve, but overly sharp ones seem to lose it.
Specially compared the pictures with 70-200 Nikonovsky and this Tokin. Nikkor I much less like the picture.
Apparently, this is a matter of preference.
Everywhere has its pros and cons. With this Tokina, you definitely won’t go to shoot sports, any dynamic scene for the 70-200 generation is easier to fix. And I liked the portraits very much.
Arkady Sori for offtopic. Need some advice. What to buy nikon d7100 for $ 1000 or d700 for $ 990. No ff, not a crop. But the video also needs to be shot, although not so often.
the d700 has 130 thousand mileage (((
If you need to shoot a video, then definitely D7100, what is there to think.
But what about the person who will make money in the photo?
Glasses are good to buy.
Thanks for the quick response. Did you mean good glasses to the d700? Which camera I will not buy, anyway I want to take 50 1.8d, 70-210 f4 and a lens on dx sigma 17-50 2.8 if ff then I have a tamron 28-75 2.8. In a hurry I’m selling d5100 and a bunch of lenses) without a screwdriver, it’s not easy at all and focus adjustment is sometimes needed
how much do you want for 5100 and what mileage?
* subadjustment. Mileage 19tys. Still under warranty, there are no problems at all, the reason for the sale is higher. glass 18-55 3.5-5.6, 55-200 4-5.6 in excellent condition, perhaps I will not sell the rest.
Thanks Arkady.
Thanks you can’t put it in your wallet :) Throw money to Arkady hunks !!!
I own such a glass. Chrome climbs on just one foot. After already bearable. With f4 sharp. At 180-200 it is difficult to get into focus at 2.8. And so up to 180mm moderately sharp picture at 2.8. In my opinion, the background is pretty nice and soft. Colors are plastic. Focus speed is not fast but in time to motorcycle racing! In general, I think the speed of focus is a relative measure, a matter of habit. Given that such a token can be bought in 12-14 rubles, I think there are no analogues to it.
In my opinion, the result is not bad, maybe niccor is better, but I really liked it!
Arkady, you saw this http://www.artness.ru/obzor-tokina-at-x-af-sd-80-200mm-12-8/? Insolent theft of material or is it one of your projects?
Anyway, the pictures are signed there © Radojuva.com.ua
but I like a beautiful plastic picture
RMC Tokina 35-135 1: 4-4.5 would like to know a review on this lens on Nikon.
They gave me a new Tamron 70-200 2.8 to hold. Now I will save and collect glass containers - I really liked it. I'm looking for such a zoom. Maybe someone has heard something about him? That would be an objective opinion to hear.
I have such glass, although in conjunction with D 90. I shoot very rarely on 2.8, usually 4, I also try not to exceed the focal length of 135, but mostly not more than 100. If the picture above is very flat, there is no sharpness. Aberrations climb in the backlight, strongly, also on the long end all the time. My conclusion for crop is a good zoom up to 100 mm focal length, the construct is excellent, you just have no words, you hold it and confidence is instilled) I took it myself from the account of the subsequent purchase of a full frame, for $ 400 it’s quite excellent glass, there are limitations, but if you learn to take them off even and on crop he can do something)
If you have to close up to F / 4, is it not better to take Nikon 70-210 F / 4? It is both easier and cheaper, and focusing is stable, and F / 4 is sharp. At least I like it.
As a user of this lens, I can say that:
1. F2,8 is fully working up to 180mm, after 180mm it may be unfocused due to backlight and side light (filters also have a slight effect.
2. The difference between F2,8 and F4 in the bokeh is not visible, you can safely shoot at any aperture, after F14 diffraction already begins.
3. The focusing speed is quite sufficient, I had enough focus speed on the D300s for shooting auto racing in the tracking mode.
4. The difference with Nikkor's two-ring is insignificant for me, the lens has a very plastic and sharp pattern in the focus area, works better with backlight.
So I don’t understand one thing, I’ll write so many clever words about the lens, and instead of normal, full-size samples, which should illustrate the lens review, stick some worthless 1000x600 “postage stamps” ...
and the links to the originals do not work?
For some reason they didn’t work. Because of this, I unsubscribed. But now I turned off the ad blocker, cleared the cache and it worked. So I ask the incident to be considered exhausted)))
:)
Hello. I can’t get rid of the thought: the schemes of many Lenses were developed in the film era (the Black-and-white film is a separate conversation) and they worked perfectly with this photosensitive material (in fact, many dozens of different photo materials that were very different from each other). It seems to me, to some extent, comparing lenses in some positions does not make sense.
Regards, Alexey .
Bought inexpensively from Japan. When I started filming, I realized that I "got" on him. The quality of the photos is SUPER !!!! Yes, software, but when you know how to shoot them, it does not interfere, sometimes it even helps ... I bought it for 12t.r. No comments. Later I will buy Nikkor for testing, purely for sports interest ...
Strange, but the text of the review nowhere said that the tested specimen had a defect in the diaphragm drive. But they added a comment; Nikkor 80-200 is better.
For the review, of course, I thank its creators. At least some information is always better than no information at all. But when you get exactly half of it not from the review, but from the comments - guys, it's already unprofessional :-(
I had several of these Tokins, including fully working ones, because I can judge not only by the one described in the review. Maybe I’ll even add a cover photo to the review.
Arkady, and you don’t have any acquaintances who is filming for Canon. Interested)
Unfortunately no. Only nikon
Thank you)
I made up my mind. Mostly thanks to the review.
When they started to frighten with blur, I realized - this is it)
It remains only to get used to)
This or Tamron 70-210 2.8, who will tell you?
For examples of photos from the test, it seems to me difficult to understand. You need to click to go to a separate tab and watch crop at 100%.
The picture really has a slightly soft loose outline.
But I can repeat, this is closer to normal human vision.
Photo ruining causes some kind of inner comfort. It is artistic. Unlike super-sharp, but slightly unusual bird photos from sharper telephones.