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For the provided lens Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical many thanks to the store Bomber, where can I find studio light, light filters and any lens, including Tokina with an official guarantee of 12 months.

tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical. Lens shown in film slr camera Nikon EL2. Enlarge Image.

Browse Navigation:

1. Browse Navigation
2. In short
3. History
4. Main Specifications
5. Assembly
6. Focusing
7. Diaphragm
8. Image quality
9. Sample Photos
10. Alternatives
11. My experience (a bit of nostalgia)
12. Prices / where to buy
13. Video review
14. Results
15. User Comments
16. Add your review or question on the lens

This review presents the Tokina lens SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical (N/AIS) for Nikon cameras. I will call it Tokina 24-70/2.8 AT-X PRO for short.

tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical. View shown with front and back covers.

In short

The Tokina 24-70 / 2.8 AT-X PRO is a fast, versatile zoom lens for full frame cameras. Lens deserves due attention. Good replacement for an older model Tokina AT-X 280AF PRO. The lens is good / almost very good optically, but it has its own characteristics with focus and ease of use.

During my practice as a photographer, I came to the conclusion that living without a good universal lens is very difficult. As one colleague of mine put it, 'all paths lead to 24-70'. In the life of a large number of photographers, in their work, almost always the most convenient solution for many types of photography will be such a 'workhorse'. 24-70 is a kind of working base, to which other lenses are already added depending on the tasks to be solved.

tokina SD 24-70 F2.8 (IF) FX Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical-X PRO Aspherical

History

The predecessor of Tokina's line of aperture universal zoom lenses was the lens Angenieux Zoom F.28-70 1:2.6 AF, (the name is indicated according to the inscription near the front lens, versions only for Nikon F, Minolta / Sony A). Subsequently, the line has grown and has several models.

The evolution of Tokina Class 24 (28) -70 (80) /2.8 (2.6-2.8) lenses:

1. Tokina AT-X AF 28-70mm 1: 2.8 - orange border near the front lens, filter diameter 72 mm, focusing is not internal. Window focusing distances. The name on the box is Tokina AT-X 270 AF.
2. Tokina AT-X PRO AF 28-70mm 1: 2.6-2.8 (1: 2.8) - marking '1: 2.8' for Japan, marking '1: 2.6-2.8' for other countries, filter diameter 77 mm, internal focusing. The hood is threaded. Without a window of focusing distances, a gold border near the front lens. The name on the box is Tokina AT-X 270 AF PRO. You can distinguish on these signs of.
3. Tokina AT-X PRO 28-70mm 1: 2.6-2.8 (1: 2.8) - marking '1: 2.8' for Japan, marking '1: 2.6-2.8' for other countries, filter diameter 77 mm. Externally similar to the previous version, but there is no 'Tokina' lettering near the front lens, and the hood is bayonet type. The version is commonly referred to as 'AT-X PRO II'. Name on the box Tokina AT-X 270 AF PRO II. You can distinguish on these signs of.
4. Tokina AT-X PRO 28-80 1: 2.8 Aspherical - a window of a focus scale, a gold border near the front lens. The name on the box is Tokina AT-X 280 AF PRO. There is a subversion with a gold nameplate with the name of the lens and other enlightenment.
5. Tokina AT-X PRO SV 28-70mm 1: 2.8 (also called Tokina AT-X 287 PRO SV) - easily recognized by the 'PRO SV' prefix. Name on the box Tokina AT-X 287 AF PRO SV.
6. Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical - easy to find by focal lengths. Has a built-in focus motor. Name on the box Tokina AT-X 24 ~ 70mm F2.8 PRO FX

As indicated above, the versions of Tokina AT-X 270 AF PRO and Tokina AT-X 270 AF PRO II exist in two versions: '1: 2.8' and '1: 2.6-2.8' and are quite similar to each other. The easiest way to distinguish between 'PRO' and 'PRO II' is by the inscription 'TOKINA' near the front lens and the presence of fasteners for the bayonet hood:

All options are 28-70 AT-X PRO. Click to enlarge.

It is worth remembering about Angenieux Zoom F.28-70 1:2.6 AF, which is the progenitor for some models from the list above.

Since the release of the unsuccessful version of the Tokina AT-X 287 AF PRO SV (2002), Tokina has not updated its line of professional station wagons for 13 years. Only in December 2015 was the new Tokina 24-70 / 2.8 AT-X PRO lens shown.

tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical

Main technical characteristics of Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical (version N / AIS):

The total number of special items is 5, not 6 (3 AS + 3 SD). A good review of the version for Canon EOS cameras can be seen here.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical

Assembly

I was given a completely new lens for review. Build quality - at a very high leveltypical of the Tokina AT-X PRO series lens. Tokina 24-70 / 2.8 AT-X PRO design reminded me of an old 'fat man' Nikon 28-70 /2.8D.

Tokina 24-70 / 2.8 AT-X PRO has metal bayonet mount. The zoom and zoom rings are rubberized and wide enough. Zoom ring rotates tight and uncomfortable. When changing the focal length, the front lens does not rotate. The retractable frame of the body (trunk) consists of one section. The trunk of the lens behaves unusually: in the range of 24-40, its elongation practically does not occur, but in the range of 40-70 it begins to protrude in full.

Near the mount is rubber compressor, protective mount against dust and moisture. There is no exact information about the security of the lens.

There is a bayonet mount mark on the body and a mark for quick installation of the hood. The lens uses a plastic hood that is fixed in special slots 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 zoom ring is a little difficult. When the focal length is changed, the hood moves with the front of the lens. Of the pleasant little things - the inside of the hood is covered with a special fabric which is most likely designed to capture dust.

When changing the focal length, the rear lens moves in the middle of the lens body like a pump - it draws in and pushes out air. This behavior of the rear lens is called 'vacuum cleaner effect', which can increase the amount of dust that accumulates in the camera. For Tokina 24-70 / 2.8 AT-X PRO, the effect of a vacuum cleaner is weakly expressed.

Green boards and control loops are visible from the bayonet side - an unpleasant cosmetic trifle for a TOP lens.

Separately, I want to note the large weight of the lens. it one of the heaviest modern lenses of today. At the time of writing, Tokina 24-70 / 2.8 AT-X PRO was only heavier Nikon AF-S Nikkor 24-70 mm 1: 2.8EN ED Nano Crystal Coat SWM IF Aspherica VR.

I shot a small 2-hour report from a children's birthday on Tokina 24-70 / 2.8 AT-X PRO and a small studio set. The lens pushed away from itself with its excessive weight. I often shoot on light Tamron SP 28-75 / 2.8 A09 and after fatties like Tokina 24-70 / 2.8 AT-X PRO, I’m starting to appreciate a little more weight. In addition, the Tokina 24-70 / 2.8 AT-X PRO’s tight / very tight / tight enough focus ring, located too close to the camera’s mount, causes extra discomfort. It would be great if the zoom and focus rings were swapped, for example, like Tamron USD DISP 24-70 mm F / 2.8 vc.

Compared to original Nikkor lenses, with the same Nikon 24-70 mm 1: 2.8E VR, the zoom and focus rings of the Tokina 24-70 / 2.8 AT-X PRO rotate in the opposite direction, which should take some getting used to. But Canon users will be more familiar. By the way, Sigma has recently been releasing versions of lenses for Nikon and Canon with the original directions of rotation of the zoom / focus rings.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical. Maximum frame length

Focusing

Tokina 24-70 / 2.8 AT-X PRO uses Tokina built-in quiet focusing motor SDM (Silent Drive-Module). Tokina 24-70 / 2.8 AT-X PRO - Tokina's first lens  with motor type SDM.

Important: this lens will automatically focus on all Nikon DSLR cameras. Tokina 24-70 / 2.8 AT-X PRO is an analog of the Nikon series lenses AF-S / AF-I, Nikon SWM.

Despite the claims that the focusing motor is silent, quite a lot of noise. This noise will greatly affect the sound quality during movie shooting using the microphone built into the camera. Unlike other similar lenses that use advanced ultrasonic focusing motors (e.g. ring SWM Nikon), the motor in the Tokina 24-70 / 2.8 AT-X PRO lens is more like regular buzzing micro-motors.

A bit of stones in the Tokina garden: I prepared this review at the end of 2016, at that moment Tokina had only 1 (one) lens with an ultrasonic focusing motor, and that one has already been discontinued. This is about Tokina VCM-S AT-X PRO SD 70-200 F4 (IF) FX. Tokina most likely has some kind of patent or liability problem.

Auto focus speed medium (closer to low). The focusing speed does not depend on the selected focal length or on the orientation of the lens. The lens travel time from infinity to MDF roughly corresponds to the time of inexpensive modern universal lenses. Unfortunately, all other original professional high-aperture zoom lenses focus faster than the Tokina 24-70 / 2.8 AT-X PRO.

Tokina 24-70 / 2.8 AT-X PRO has a special Tokin focus mode switch FC (one-touch Fear Clutch - one-touch focus mode switch). The switch is quite convenient. To switch between focusing modes, simply pull the focusing ring towards the mount or front lens. But I want to point out that other modern lenses have more familiar focus mode switches that allow for continuous manual focus control.

When used on a camera Nikon D90 (with unpretentious Multi-CAM 1000 focusing system), as well as on the camera Nikon D70 (with super-simple Multi-CAM 900 focusing system), the lens showed itself worse than expected. Tokina 24-70 / 2.8 AT-X PRO misses in focus, misses are not systematic and do not depend on the focal length or focus mode settings (AF-AAF-S AF-C). The number of misses is higher than many similar lenses... Focus grip is weak, even for stationary / sedentary subjects. In AF-S focus mode, the lens can focus on the subject for a long time. In conditions with poor illumination, due to focusing misses, 100-150 frames out of 1000 took me to the basket. For example, with a similar lens Tamron SP 28-75 / 2.8 A09 (first version, without a built-in motor) of 1000 frames, misses occur at 10-20 frames.

On camera Nikon D90 I checked the presence of the back and focus front at different focusing distances and different values ​​of the focal length (infinity and MDF as well). Pictures taken using the Live View mode (which does not suffer from back / front focus) were used as a measure. Focusing accuracy using phase sensors completely coincided with the Live View mode.

Important: according to other users' feedback on the Canon system, the lens behaves better. It is also possible that the tenacity of focus will very much depend on the camera used.

During focusing, the front and rear lenses remain stationary, as the lens uses internal focusthat is indicated on the case by the letters'(IF)'-'Iinternal Focus' - 'Inner Focus'. You can easily use any filters, for example polarizing or gradient.

During auto focus, the focus ring rotates freely and does not affect the focus process. During auto focus, it’s convenient to support the lens precisely by the focus ring. In manual focus mode, the focus ring rotates approximately 45 degrees. When extreme positions are reached, the focus ring abuts. Manual focus is not very convenient.

The lens has a window with a distance scale with marks in meters and feet. The scale is small, on it there are marks only for 2, 1.2, 0.7, 0.38 m and the mark is 'infinity'. Such a scale in itself is of little use and is present more for show (justification of this thought here).

The minimum focusing distance is 38 cm (the distance from the sensor / focal plane of the camera to the subject). With such an MDF, the maximum magnification ratio is 1: 4.73.

Features:

1. During the tests, a small focus shift (shift-focus). During aperture, the exact focus moves away from the lens.
2. There is the effect of 'Focus Breathing' (changes in viewing angle during focusing).
3. Tokina 24-70 / 2.8 AT-X PRO is a third-party lens. It may happen that it will not work correctly with some Nikon cameras. Details on this issue are considered by me. here.
4. Tokina 24-70 / 2.8 AT-X PRO has no special focus problems in Live View (tested on Nikon D90) Although some users of the versions for Canon cameras note a strong retardation of the lens in Live View.
5. When changing the focal length, focusing is a bit confused.
6. Tokina 24-70 / 2.8 AT-X PRO transmits the focus distance to the subject in the camera and is a type lens Nikon D.
7. The lens does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions.
8. At 70 mm of the focal length, while focusing on the MDF, the distance from the front lens of the lens to the subject is about 20 cm, if you shoot 'macro objects' located on a horizontal surface, when focusing at the smallest possible distance, you can hook this very surface.
9. There is no depth of field scale and labels for working in the infrared spectrum.
10. Unknown compatibility with teleconverters.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical with hood

Diaphragm

The diaphragm consists of 9 rounded petals. The lens does not have an aperture control ring and is similar to Nikon lenses G. The effect of an 18-ray star with this lens is difficult to obtain.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical with hood in transport mode

Image quality

Unfortunately, I did not have the opportunity to drive the lens on a full-format camera, but on cropped cameras with an APS-C sensor, the lens behaves very well.

The main advantages of the created image:

• good contrast over the entire range of focal lengths
• good sharpness at open apertures over the entire range of focal lengths
• excellent sharpness on covered apertures throughout the image field
• even circles in the blur zone due to the rounded aperture blades (example on f / 5)
• low level of refrigeration (chromatic aberrations out of focus)
• no vignetting on cameras with APS-C sensor
• simple and 'flat / boring' bokeh (for a station wagon, more plus than minus)

The main disadvantages of the image:

• slight distortion over the entire range of focal lengths; distortion changes its character depending on the focal length
• in backlight it can create more unpleasant glare (Example 1, Example 2, Example 3, green glare, shot without filter)
• bulbous bokeh (exampleconcentric circles)
• unpleasant green-yellow color of the freezing in the blur zone behind the subject

Nikon modern cameras can automatically correct some of the shortcomings of modern original lenses, such as vignetting, distortion, chromatic aberration etc., in the case of Tokina 24-70 / 2.8 AT-X PRO, you will have to use third-party software (or not) to remove some distortions. This is critical for shooting in format. JPEG or tiff. When shooting in RAW format, some of these shortcomings can be easily eliminated in most modern RAW converters. There are profiles for Tokina 24-70 / 2.8 AT-X PRO for popular handler programs.

Sizes of Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical and Nikon AF Nikkor 28-70mm 1: 3.5-4.5 (MKI)

Sample Photos

Pictures from Nikon D90 и Nikon D70. The photos in the gallery below are shown without processing, the conversion of the source RAW files by the original Nikon ViewNX-i utility without making additional adjustments.

Everything got away with a hood and protective light filter Hoya HD UV 82mm Made in Japan. I was asked to say a few words about this filter: I like the filter line Hoya HD (The High End Series)Good filters at a reasonable cost.

You can download the original photos in RAW format (.NEF) at this link. With easy handling here.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical. Installed safety filter Hoya HD UV 82mm Made in Japan.

My experience or a little nostalgia

I really like the Tokina ATX-PRO line of lenses, they have their own highlight. In some small things, the new version of Tokina 24-70 / 2.8 AT-X PRO, compared with the old version Tokina AT-X 280AF PROlost part of her charm. The new version lacks internal zoom: the extended trunk of the Tokina 24-70 / 2.8 AT-X PRO does not look as nice as the monolithic body Tokina AT-X 280AF PRO... The old version always stood out for its longer focal length of 80mm, which brought it closer to the classic portraits with a focal length of 85mm. Older versions - Tokina AT-X 270 AF PRO and Tokina AT-X 270 AF PRO II could be found with the 1: 2.6-2.8 markings, which warmed the soul of many photographers, because the F / 2.6 value at the wide end already set the lens out of gray the crowd of classic 1: 2.8. In addition, the focusing ring travel of the Tokina 24-70 / 2.8 AT-X PRO has halved - instead of 90 degrees in Tokina AT-X 280AF PRO it was only 45 degrees in the Tokina 24-70 / 2.8 AT-X PRO. And the old version had its own name: '280th Tokina' (tokina AT-X 280AF PRO), the new lens is 'unnamed', only with marking of the focal length, relative aperture and other regalia. You can still feel nostalgic about the 'Tokin software', but that's a completely different story.

Despite its novelty, the Tokina 24-70 / 2.8 AT-X PRO is still lagged behind its competitors: the lens uses an archaic micro-motor for focusing with not fast focusing (but in fact, almost slow), does not have an image stabilizer, uses an old focusing mechanism without constant manual control, there is no accurate information on the lens protection (which means it is not protected), and etc.

For real photography without unnecessary troubles (took and went to 'bomb'), I recommend looking towards the divine Canon 24-70 / 2.8 L IIbalanced / stabilized Tamron 24-70 / 2.8 VC or super-heavy Nikon AF-S Nikkor 24-70 / 2.8E VR. Perhaps new Sigma 24-70 / 2.8 ART many will like it.

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical. The lens is shown in film slr camera Nikon EL2.

Alternatives

Professional fast wagon

Choosing a good high-speed universal lens is one of the most important for a large number of photographers. I pay a lot of attention to this issue, because I prepared this list of all full-frame universal (standard range of focal lengths) fast autofocus lenses:

Canon

Bayonet EF:

1. Canon Zoom Lens EF 28-70 mm 1: 2.8 L USM
2. Canon Zoom Lens EF 24-70 mm 1: 2.8 L USM
3. Canon Zoom Lens EF 24-70 mm 1: 2.8 L II USM

Bayonet R:

1. Canon Lens RF 28-70 mm F2 L USM, since September 2018
2. Canon Lens RF 24-70 mm F2.8L IS USMsince August 2019

Nikon

Bayonet F:

1. Nikon AF Nikkor 35-70 mm 1: 2.8 (MKI)
2. Nikon AF Nikkor 35-70 mm 1: 2.8D (MKII)
3. Nikon AF-S Nikkor 28-70 mm 1: 2.8D ED SWM (two body color options)
4. Nikon AF-S Nikkor 24-70 mm 1: 2.8GN ED Nano Crystal Coat SWM IF Asphericalsince December 2007
5. Nikon AF-S Nikkor 24-70 mm 1: 2.8EN ED Nano Crystal Coat SWM IF Aspherical VR

Bayonet Z:

1. Nikon Nikkor Z 24-70 mm 1: 2.8 S
2. Nikon Nikkor Z 28-75 mm 1:2.8 (the scheme is similar to Tamron a036, animation)

Tokina (for different mounts)

1. Tokina AT-XAF 28-70 mm 1: 2.8 (Tokina AT-X 270 AF)
2. Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO)
3. Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO II)
4. Tokina AT-X PRO 28-80 mm 1: 2.8 Aspherica (Tokina AT-X 280 AF PRO)
5. Tokina AT-X PRO SV 28-70 mm 1: 2.8 (Tokina AT-X 287 AF PRO SV)
6. Tokina sd 24-70 F2.8 (IF) FX AT-X PRO Aspherical

Sigma (for different mounts, in chronological order)

1. Sigma 28-70mm 1: 2.8 Zoom, from May 1992 (Vivitar 28-70 / 2.8 VMC was made on its basis)
   
2. Sigma 28-70mm 1: 2.8 Zoom EX Ashperical [+ -D], from the end 1998
3. Sigma 28-70mm 1: 2.8 Zoom EX Aspherical DF [+ -D]since February 2001
4. Sigma 24-70mm 1: 2.8 Zoom EX DG Aspherical [+ -D], [DF version], since February 2001
5. Sigma 24-60mm 1: 2.8 Zoom EX DG [+ -D], from May 2004
6. Sigma 24-70mm 1: 2.8 Zoom EX DG Macro [+ -D], From september 2004
7. Sigma 28-70mm 1: 2.8 Zoom EX DG [+ -D], From september 2004
8. Sigma 24-70mm 1: 2.8 EX DG HSM, From september 2008
9. Sigma 24-70mm 1:2.8 DG OS A (ART)since February 2017, Nikon F, Canon EF, Sigma SA
   
10. Sigma 24-70mm 1: 2.8 DG DN A (ART)since November 2019, Sony E, Leica L, the layout is similar to Leica Vario-Elmarit-SL 2.8 / 24-70mm, animation
    
11. Sigma 28-70mm 1: 2.8 DG DN C (Contemporary)since February 2021, Sony E, Leica L
12. Sigma 24-70mm 1:2.8 A DG DN II (ART), from May 2024, Sony E, Leica L
13. Sigma 28-45 mm 1:1.8 DG DN A (Art), from June 2024, Sony E, Leica L
14. Sigma 28-105 mm 1:2.8 DG DN A (ART), From september 2024, Sony E, Leica L

Tamron (for different mounts)

1. Tamron SP AF 35-105 mm 1: 2.8 Aspherical Model 65D
2. Tamron SP AF Aspherical LD ​​[IF] 28-105 mm 1: 2.8 Model 176D
3. Tamron SP AF Aspherical LD ​​[IF] 28-105 mm 1: 2.8 Model 276D
4. Tamron SP AF Aspherical XR Di LD [IF] 28-75 mm 1: 2.8 Macro Model A09 (Model A09N & Model A09N II) (scheme like Konica Minolta AF Zoom 28-75mm 1: 2.8 (32) D и  Sony 2.8 / 28-75 SAM)
5. Tamron SP 24-70 mm F / 2.8 DI VC USD Model A007
6. Tamron SP 24-70 mm F / 2.8 Di VC USD G2 Model A032
7. Tamron 28-75 mm F / 2.8 Di III RXD Model A036, (15/12), only for Sony E / FE, the scheme is similar to Nikon Nikkor Z 28-75 mm 1:2.8, animation
8. Tamron 28-75 mm F / 2.8 Di III VXD G2 Model A063, (17/15), only for Sony E / FE, Fall 2021
9. Tamron 35-150 mm F / 2-2.8 Di III VXD Model A058, Sony E / FE only, Fall 2021

Sony

Sony / Minolta A mount:

1. Konica Minolta AF Zoom 28-75 mm 1: 2.8 (32) D (scheme like Tamron 28-75 / 2.8)
2. Minolta AF Zoom 28-70 mm 1: 2.8 (32) G
3. Sony 2.8 /28-75 SAM (scheme like Tamron 28-75 / 2.8)
4. Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM T *
5. Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM II T* (circuit from the previous lens)

Sony E-mount:

1. Sony FE 2.8 /24-50 G (G, SEL2450G)
2. Sony FE 2.8 /24-70 GM (G, SEL2470GM)
3. Sony FE 2.8 /24-70 GM II (G, SEL2470GM2)

Pentax (K)

1. Pentax SMC FA 28-70 mm f / 2.8
2. Pentax HD Pentax-D FA 24-70 mm f / 2.8ED SDM WR

Angénieux

1. Angenieux zoom F.28-70 1: 2.6 AF (for Nikon F, Minolta / Sony A, Canon EF)

Vivitar

1. Vivitar Series 1 28-70mm 1: 2.8 VMC AUTO FOCUS ZOOM, different mounts, presumably a copy Sigma 28-70mm 1: 2.8 Zoom

Panasonic

1. Panasonic Lumix S PRO 1: 2.8 /24-70 mm, from August 2019, Leica L

Leica

1. Leica Vario-Elmarit-SL 1: 2.8 / 24-70mm f / 2.8 ASPH., from May 2021, the optical design repeats Sigma 24-70mm 1: 2.8 DG DN Art (animation)

Samyang

1. Samyang AF 24-70 / 2.8 FE, aka Rokinon AF 24-70 / 2.8 FE, from October 2021, only for Sony E / FE
2. Samyang AF 35-150/2-2.8FE, from April April 2023, only for Sony E/FE

Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical and Industar-50-2 3,5 / 50. Instead of one Tokina 24-70, you can buy 500 Industarov 50 / 3.5.

Prices

Prices for Tokina SD 24-70 F2.8 (IF) FX AT-X PRO Aspherical lenses in popular online stores can look at this linkor in the price block located below:
All Tokina 24-70 prices

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Video review

A brief video review can be viewed on my Youtube channel, here hereor below:

Results

The Tokina 24-70 / 2.8 AT-X PRO is an optically good / very good lens, but the focusing features make you think carefully before buying it. In general, the lens deserves attention.

Material prepared Arkady Shapoval.