For provided Tokina AT-X PRO DX 11-20mm f / 2.8 lens 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 AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL. Lens shown in film slr camera Nikon EL2
Browse Navigation:
- Browse Navigation
- In short
- History
- Main Specifications
- Assembly
- Focusing
- Image quality
- Sample Photos
- Alternatives
- My personal experience with the lens
- Prices / where to buy
- Results
- User Comments
- Add your review or question on the lens
In this review, the Tokina AT-X PRO lens SD 11-20 F2.8 (IF) DX ASPHERICAL (according to the inscriptions on its body) I will call it for short - Tokina AT-X PRO 11-20 / 2.8. This review shows the version for Nikon DX cameras.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
In short
The Tokina AT-X PRO 11-20 / 2.8 is an excellent wide / ultra wide angle lens for APS-C sensor cameras. Logical update / continuation of an older model Tokina AT-X PRO SD 11-16 F2.8 (IF) DX II ASPHERICAL.
In short, it's simple - this is one of the best lenses of its kind.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
History
Tokina is famous for its successful wide-angle lenses for cropped cameras. The line of fast wide-angle zoom lenses with a constant relative aperture of 1: 2.8 for cameras with APS-C sensors appeared back in 2007:
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX ASPHERICAL (the first version, white letters in the title, for Nikon cameras was produced without inboard motor focusing), presented on November 16, 2007
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX II ASPHERICAL (second version, gold letters in the name, for Nikon cameras with a built-in focus motor), presented on January 26, 2012
- Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL, introduced December 24, 2014
Similar aperture zoom makes only Tokina. Not so long ago appeared even more unique Tokina AT-X PRO SD 14-20mm F2 (IF).
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Main technical characteristics of Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL (version N / AIS):
| Review Instance Name | The lens says: Tokina AT-X PRO SD 11-20 F2.8 (IF) DX (gold letters), N / AIS (bayonet side), ASPHERICAL Japan Ø82 CE + serial number (in white letters). On the box indicated: Tokina AT-X PRO DX for DIGITAL 11 ~ 20mm F2.8 ASPHERICAL N / Digital to fit Nikon |
| Basic properties |
|
| Front Filter Diameter | 82 mm, filter thread plastic |
| Focal length | 11-20 mm EGF for Nikon DX cameras is 16.5-30 mm |
| Diagonal viewing angle | 104 ° for 11 mm, 72 ° for 20 mm |
| Zoom ratio | 1.82 X |
| Designed by | for Nikon DX digital cameras. Also, there is a version for Canon APS-C cameras. |
| Number of aperture blades | 9, the petals are rounded |
| Tags | window with focusing distance in meters and feet, focal lengths for 11, 14, 16, 18, 20 mm, mark of bayonet mount and hood mount |
| Diaphragm | F / 2.8 to F / 22 over the entire range of focal lengths The lens does not have an aperture ring (G - lens type). |
| MDF (minimum focusing distance) | 0.28 m over the entire range of focal lengths, the maximum magnification ratio is achieved by 20 mm focal length and is 1: 8.62. |
| The weight | 560 g |
| Optical design | 14 elements in 12 groups. The scheme includes 3 elements made of Tokina Super Low Dispersion glass and 3 aspherical elements Tokina Aspherical (2 of which are cast aspheric, 1 - P-MO). One element is both aspherical and low dispersion at the same time.
The image of the optical circuit is clickable. |
| Lens hood | Lobe BH-821, can be installed in the opposite direction |
| Manufacturer country | Japan (Japan) |
| Period | From December 24, 2014 |
| 3D view | See |
| Instructions | See |
| Price |
The total number of special optical elements is 5, not 6 (3 AS + 3 SD). Tokina is the first company to make optical elements both aspherical and made of ED glass.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Assembly
They provided me with a completely new lens for review.
Tokina AT-X PRO 11-20 / 2.8 is assembled efficiently. The focus ring and zoom (zoom) are rubberized. The zoom ring rotates a little tight, the direction of rotation coincides with the original Nikon Nikkor lenses. The body is pleasant to the touch, the lens uses a metal lens mount, most likely most of the internal parts and body parts are also made of metal. From the bayonet side there is rubber compressor lens mounts, which improves the lens's protection from dust and dirt. This seal is not even in the original Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical. Unfortunately, Tokina does not provide accurate security data for the Tokina AT-X PRO 11-20 / 2.8 (most likely there is no serious protection).
I have not had any complaints about the build quality to any Tokina AT-X PRO lens.
Included with the lens is the front and rear covers, as well as a plastic hood. Bayonet type hood, easily fixed in special grooves. The hood can be installed in the opposite direction for transportation. In this position, access to the focus ring is slightly lost. The hood must be fixed in the correct position so as not to have problems with vignetting.
When changing the focal length, the front lens moves in waves, but does not extend beyond the front of the body frame, and, therefore, does not increase the overall dimensions of the lens. The maximum lens recess is available at 16mm focal length. The front lens is moved as close as possible to the edge of the body frame by 11 mm of focal length. We can say that the lens has an internal zoom (does not change its size when changing the focal length).
When changing the focal length, the rear lens moves, but the effect of the vacuum cleaner is minimal.
The diaphragm consists of 9 petals and forms a fairly round hole. For example, the same Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical the aperture blades are only 7. Using Tokina AT-X PRO 11-20 / 2.8 you can get 18-ray star effect on heavily covered diaphragms.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Focusing
Tokina AT-X PRO 11-20 / 2.8 uses a built-in focus motor. Unfortunately, Tokina still (early 2017) is unable to properly integrate ultrasonic focusing motors into its lenses (only introduced into the discontinued Tokina VCM-S AT-X PRO SD 70-200 F4 (IF) FX).
Important: this lens will automatically focus on all Nikon DSLR cameras. Tokina AT-X PRO 11-20 / 2.8 is an analog of the Nikon series lenses AF-S / AF-I, Nikon SWM.
During focusing is present 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 AT-X PRO 11-20 / 2.8 lens is more like the usual buzzing Canon MM micro-motors (for example, as in Canon Lens EF 50mm 1: 1.8 II)
Auto focus speed medium (closer to high). The focusing speed is practically independent of the selected focal length or the orientation of the lens.
Tokina AT-X PRO 11-20 / 2.8 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 focus modes, just pull the focus ring toward the bayonet mount or front lens. But I want to note that other modern lenses have more familiar focus mode switches that allow you to use constant manual focus control, for example Nikon M / A or Nikon A / M.
When used on a camera Nikon D90 (with unpretentious Multi-CAM 1000 focusing system) the lens behaves well, rarely focuses incorrectly. I had no problems with focus accuracy and focus. 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 the central cross-shaped phase sensor completely coincided with the Live View mode.
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 quite 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 1.2, 0.7, 0.5, 0.4, 0.3, 0.28 m and the label 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 28 cm (the distance from the sensor / focal plane of the camera to the subject). With such an MDF, the maximum magnification ratio is 1: 8.62.
Features:
- During the tests, a small focus shift (shift-focus). During aperture, the exact focus goes toward the lens. It is noticeable only at very close focusing distances.
- The effect of 'Focus Breathing' (changing the viewing angle during focusing) is almost completely absent.
- Tokina AT-X PRO 11-20 / 2.8 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.
- Tokina AT-X PRO 11-20 / 2.8 does not have special focus problems in Live View mode (tested on Nikon D90).
- When changing the focal length, focusing is a bit confused. When shifting from 20 to 11 mm, the focusing distance becomes closer.
- Tokina AT-X PRO 11-20 / 2.8 transmits the focus distance to the subject in the camera and is a type lens Nikon D.
- 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.
- At 20 mm of the focal length, while focusing on the MDF, the distance from the front lens of the lens to the subject is about 10 cm.
- There is no depth of field scale and labels for working in the infrared spectrum.
- Unknown compatibility with teleconverters.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Image quality
The Tokina AT-X PRO 11-20 / 2.8 showed good image quality. The lens is sharp in the center of the frame already at F / 2.8, it's a pity the corners and edges sag a little, but if you close the aperture to F / 5.6, the lens gives out just excellent sharpness practically across the entire frame.
It is very pleasant that the Tokina AT-X PRO 11-20 / 2.8 lacks distortion by 20 mm focal length, but, unfortunately, a small level of distortion is still present at 11 mm.
The strongest vignetting is noticeable at 11mm and f / 2.8. The longer the focal length, the less perceptible the vignette.
Chromatic aberrations visible only at the edges and corners of the image.
Tokina AT-X PRO 11-20 / 2.8 works well in backlight, but still a small amount of glare is quite easy to obtain (example).
If you shoot in RAW format, and use the appropriate profile for Tokina AT-X PRO 11-20 / 2.8 for processing, then you can very easily get rid of vignetting and distortion and almost completely get rid of chromatic aberration. Minor ailments of the lens are very well treated in the editor.
In general, the Tokina AT-X PRO 11-20 / 2.8 is not only longer than its predecessor Tokina AT-X PRO SD 11-16 F2.8 (IF) DX II ASPHERICALbut also better optically.
It's important: The lens can be used on full-format cameras, without a lens hood, vignetting is slightly noticeable starting at 15.5 mm focal length.
Important: modern Nikon cameras can automatically correct some of the shortcomings of modern original lenses, such as vignetting, distortion, chromatic aberration etc., in the case of Tokina AT-X PRO 11-20 / 2.8, 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 disadvantages can be easily fixed in most modern RAW converters. For Tokina AT-X PRO 11-20 / 2.8, there are profiles for popular handler programs.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Sample Photos
Pictures from Nikon D90. 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.
You can download the original photos in the '.RAW / .NEF' format at this link.
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Prices
Prices for the Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL lens in popular online stores can look at this linkor in the price block located below:
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Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
Alternatives
Below is a list of all ultra-wide angle lenses with auto focus support for cameras with an APS-C sensor (crop Kf = 1.5-1.6X) whose focal length is less than or equal to 14 mm.
Tokina (for different mounts):
With moderate aperture:
- Tokina 124 AT-X PRO SD 12-24 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
- promaster Digital af 12-24 XR EDO F4 Aspherical, previous lens under the 'ProMaster' brand
- Tokina 124 AT-X PRO SD 12-24 mm F4(IF)DX II aspherical, for Nikon F, Canon EFS
- Tokina 128 AT-X Pro SD 12-28 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
- Tokina AT-X PRO SD 12-28 F4 (IF) DX V, Canon EFS only
Aperture:
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX ASPHERICAL, since 2007, for Nikon F, Canon EFS, Sony A
- Tokina AT-X PRO SD 11-16 F2.8(IF)DX II ASPHERICAL, since 2008, for Nikon F, Canon EFS, Sony A
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX V, for Nikon F, Canon EFS
- Tokina atx-i 11-16mm F2.8CF, since 2019, for Nikon F, Canon EFS, black/white
- Tokina atx-m 11-18mm F2.8E, since 2022, for Sony E, black/white
- Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL, from 2014, for Nikon F, Canon EFS
- Tokina atx-i 11-20mm F2.8CF, since 2020, for Nikon F, Canon EFS, black/white
- Tokina AT-X PRO SD 14-20mm F2 (IF) DX, from 2015, for Nikon F, Canon EFS
fisheye:
- Tokina 107 Fisheye 10-17 mm F3.5-4.5DX AT-X, for Nikon F, Canon EFS
- Tokina 107 Fisheye 10-17 mm F3.5-4.5 DX NH AT-X, for Nikon F, Canon EFS
- Tokina 107 Fisheye 10-17 F3.5-4.5 DX AT-X V NH, Canon EFS only
Tamron (for different mounts):
- Tamron SP 10-24 mm 1: 3.5-4.5 Di II B001, from October 2008, for Nikon F, Canon EFS, Pentax K, Sony A. Japan / China / Vietnam
- Tamron 10-24 mm F/3.5-4.5 Diii VC HLD-B023, from February 2017, for Nikon F and Canon EFS
- Tamron Aspherical LD DI II SP AF 11-18 mm 1: 4.5-5.6 [IF] A13, since 2005, for Nikon F, Canon EFS, Sony A. Konica Minolta AF DT Zoom 11-18mm 1: 4.5 (22) -5.6 D and Sony 4.5-5.6 / 11-18 DT (SAL1118) lenses are built on the same optical scheme )
- Promaster Digital EDO AF Aspherical LD (IF) 11-18 mm 1: 4.5-5.6, previous lens under the 'ProMaster' brand
- Tamron 11-20 mm F / 2.8 Di III-A RXD B060, from April 2021, only for Sony E
Sigma (for different mounts):
- Sigma 4.5 mm 1: 2.8 EX DC HSM CIRCULAR FISHEYE, since 2007 for Canon EFS, Sigma SA and Nikon F. Since 2008 for Pentax K and Sony / Minolta A
- Sigma 10 mm 1: 2.8 DC FISHEYE HSM, from 2007 for Canon EFS, Sigma SA and Nikon F. In 2008 a version for Pentax K and Sony / Minolta A was released
- Sigma 8-16 mm 1:4.5-5.6 DC HSM, since 2010, Canon EFS, Nikon F, Pentax K, Sigma SA, Sony/Minolta A
- Sigma 10-20 mm 1: 4-5.6 DC EX [+ -HSM, + -D], since 2005 for Canon EFS, Sigma SA, Nikon F, Pentax K and Sony / Minolta A. Since 2008 for 4/3 SLR system. 'D' prefix for select Nikon and Sony / Minolta A only. HSM motor only available for Canon EFS, Sigma SA, Nikon F and 4/3. The Pentax K and Sony / Minolta A versions have a different appearance (there is no focusing distance window). There are two sub-versions: with a matte finish and with a velvet finish on the body.
- Sigma 10-20 mm 1: 3.5 DC HSM EX, since 2009, for Canon EFS, Nikon F, Pentax K, Sigma SA, Sony / Minolta A
- SIGMA 10-18 mm 1:2.8 DC DN C, from 2023, for Sony E, FujiFilm X and Leica L
Nikon DX (for Nikon F mount):
- Nikon DX AF Fisheye Nikkor 10.5 mm 1: 2.8G ED
- Nikon DX VR AF-P Nikkor 10-20 mm 1: 4.5-5.6G
- Nikon DX AF-S Nikkor 10-24 mm 1: 3.5-4.5G ED SWM IF Aspherical
- Nikon DX AF-S Nikkor 12-24 mm 1: 4G ED SWM IF Aspherical
- Nikon Nikkor ZDX 12-28mm 1:3.5-5.6PZ VR
Canon EF-S / EF-M
EF-S (Mirror APS-C)
EF-M (Mirrorless APS-C)
RF-S (mirrorless APS-C)
Pentax DA (+ Samsung / Schneider-Kreuznach, for Pentax K mount):
- SMC Pentax-DA 1: 2.8 (22) 14 mm ED [IF] (Pentax 14)
- SMC Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm ED [IF] (Pentax 10-17) (FISHEYE, most likely optically identical Tokina Model 107)
- HD Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm (FISHEYE, most likely optically similar to Tokina 107 NH)
- HD PENTAX-DA * 1: 2.8 11-18 mm ED DC AW
- SMC Pentax-DA 1: 4 12-24 mm ED AL [IF] (Pentax 12-24) (most likely optically identical Tokina Model 124)
- Samsung Zoom Lens Fisheye D-Xenon 10-17 mm 1: 3.5-4.5 AL, copy Pentax 10-17optical scheme from Tokina Model 107
- Samsung Zoom Lens D-Xenon 1: 4 12-24 mm ED ALcopy Pentax 12-24optical scheme from Tokina Model 124
- Schneider-Kreuznach D-Xenogon 1: 3.5-4.5 10-17 mm ED AL, copy Pentax 10-17optical scheme from Tokina Model 107
- Schneider-Kreuznach D-Xenon 1: 4 12-24 mm ED AL, copy Pentax 12-24optical scheme from Tokina Model 124
Sony / Minolta (A or E):
E-mount (E):
- Sony E 4 /10-18 OSS (2012)
- Sony E 4 /10-20G PZ (2022)
- Sony E 1.8 /11 (2022)
A-mount (A):
- Sony 4.5-5.6 /11-18 DT (SAL1118) (most likely optically identical Tamron model a13)
- Konica Minolta AF DT Zoom 11-18 mm 1: 4.5 (22) -5.6 D (most likely optically identical Tamron model a13)
Samsung NX
- Samsung Lens 1: 3.5 10 mm Fisheye
- Samsung Lens 1: 4-5.6 12-24 mm ED I-FUNCTION
Fujifilm x
- FUJINON ASPHERICAL LENS SUPER EBC XF 8 mm 1:3.5RWR
- FUJINON ASPHERICAL LENS SUPER EBC XF 14 mm 1: 2.8 R
- FUJINON ASPHERICAL LENS NANO-GI XF 8-16 mm 1: 2.8 R LM WR
- FUJINON ASPHERICAL LENS SUPER EBC XF 10-24 mm 1: 4 R OIS
- FUJINON ASPHERICAL LENS SUPER EBC XF 10-24 mm 1: 4 R OIS WR
Zeiss (E / X)
- ZEISS Distagon Touit 2.8 /12 T* (Sony E-mount, Fujifilm X-mount)
VILTROX (E/X/Z)
- Viltrox AF 13mm 1: 1.4 STM ASPH ED IF C (2021, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)
Leica CL/TL/T/L
- Leica SUPER-VARIO-ELMAR-T 1: 3.5-4.5 /11-23 ASPH. (2014)
- Leica SUPER-VARIO-ELMAR-TL 1: 3.5-4.5 /11-23 ASPH. (2014)
Samyang (E / X)
- Samyang AF 12/2E + Samyang AF 12/2X (2021, Sony E-mount, Fujifilm X-mount)
Yongnuo (E/X/Z)
Yongnuo 11mm 1:1.8 DA DSM WL S/X/Z (2023, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)
Do you know more similar lenses? Or do you have experience with any of them? Then be sure to share your thoughts in the comments.
Box from Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL
My experience
The Tokina AT-X PRO 11-20 / 2.8 is a great lens. I see no point in overpaying for the original Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical, Tokina AT-X PRO 11-20 / 2.8 is no worse, and in many respects better than the original.
In the next version of a similar lens from Tokina, I would like to see:
- full dust and moisture protection
- increase in focal length. It would be great if it would be 10-20 / 2.8 or 11-24 / 2.8, or 10-24 / 2.8. At the time of writing this review, only the largest scatter in focal lengths remained with such lenses. Nikon 10-24mm 1:3.5-4.5G, Tamron 10-24mm 1: 3.5-4.5 B001 и Tamron 10-24mm F / 3.5-4.5 VC B023, but they aperture significantly inferior to Tokina AT-X PRO 11-20 / 2.8
- faster nimble ultrasonic / stepping focus motor that competitors have
- continuous manual focus mode, not ancient and not for everyone convenient Tokin switch Tokina One-touch Focus Clutch
- image stabilizer, for example, like Tamron 10-24mm F / 3.5-54.5 VC B023 or Canon EF-S 10-18mm 1: 4.5-5.6 IS STM
- for the Canon version, the zoom and focus rings rotated in the usual Canon EOS systems direction. Sigma follows the direction of rotation in its new lenses
- smaller filter diameter - 77 mm instead of 82 mm for Tokina AT-X PRO 11-20 / 2.8 (most likely they will not do this)
Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL. The lens is shown in film slr camera Nikon EL2
Results
Tokina AT-X PRO 11-20 / 2.8 is one of the best wide / ultra wide angle lenses for cropped DSLR cameras. Attracts aperture, build quality and image quality. Highly recommend for purchase.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
Thank you for the review, an interesting lens, your photos are always on top.
cool lens, I worked with it a couple of times, it does not differ much from the original Nikkorovs 14-24 2,8 and 12-24 4, except that the focus is not so fast and sometimes misses the extreme points ...
The lens is interesting, but the quality of the photos, to put it mildly, was not impressive, one soap. Maybe the old man d90 is to blame
Yes, as if a special soap and no. But I will express my opinion: if the subject is 25-30 meters or more in the widest position (in this case 11 mm), then you still have to close the aperture to F8-11
In general, Tokina goes for small tricks: all her lenses start with either 11, or 12mm but not 10mm. For example, 12mm on kenon is not so wide, EGF- will be 19.2mm, which is closer to 20mm than the same 16mm at 10mm on crop. And Tokin 11-16 is an almost fixed lens. But here everything is not bad 11-20 plus aperture for shooting inside dark rooms or astrophoto
With crop 1.5 easier.
What's the trick?
Arkady, why did you delete the review on 18-55 Af-P?
https://radojuva.com/2017/02/nikon-af-p-18-55-vr/
The sharpness is excellent, but the pictures are not interesting on some skies some kind of acidic. I would also like to surprise people nearby, but is the cat generally a soap-miss or something?
cat - shutter speed too slow while subject is moving.
And what about people: if you put one foot forward a little, then there will be such a claw, bokeh is also a specific thing on super-wide
The bokeh is bright, interesting, as if a triplet, and not 14 elements in 12 groups. It's a pity there was no such autofocus when I took my Sigm'u.
Using two systems, Canon and Nikon honestly say that the color rendition of blue and them is different, for example, the blue of the sky is different for Nikon and the Canon for early cameras, for example, has a problem with red, although shooting in raw and nef is not critical.
There is such an opinion that all Tokin's wide-angle zooms, new or old, “From one field of berries” or “The sum does not change from the change of places of the terms.” The picture is almost the same for all. And the question also arises? What for a landscape lens - aperture 2.8, which will be in demand in very rare cases.
Then what for him and MDF in 28 cm?
You can remove the focuser altogether, make two positions 11 and 8 at the diaphragm, and shoot everything on the hyperfocal.
Well, what, landscape?
For aperture 2.8, they ask for more money. Do you need it? I don’t. On the DXO F5 / 6-8 for this lens are optimal. F11 is too much.
I mean, it would be wrong to limit (all the more so cruel) the scope of a good wide-angle. An example of the need for an aperture of 2,8 is even in the examples of the photo for this article. Shooting in a semi-dark temple, ISO is already serious (for D90), but would it be a little darker? Flash is not an option.
And then there is an even worse technique of highlighting the main thing in the frame with the help of depth of field - even on SHU - nobody canceled.
In general, a similar question, if you shoot the night sky, then it's enough to make f4, although a cheap tamron 10-24 allows you to make F3,5 by 10 mm. Yes, and 10 is better than 11 by rule 600.
Perhaps this lens with the price of a good camera is suitable for some author's photographs with a curvature, and architectural photography indoors. Again, these will be photographs with significant blurring of details and curvature, if you are already shooting inside the building, you want to achieve good sharpness, and for shooting christening, cheap 35mm 1,8 will be much more preferable, there is plenty of room after service.
In a cramped room, reporting on 2,8 is what you need. When you need to push the maximum information into the frame
I read to the paragraph in which it is written that the lens has a flat thread for light filters. And I realized that after this, I will not take seriously this glass, costing seven hundred dollars ...
And to the author, thanks for the review! Everything is honestly, thoroughly and accurately described.
I should have read to the end - “one of the best wide / ultra wide angle lenses for cropped DSLR cameras. It attracts with aperture, build quality and image quality. ”By the way, the price on the secondary is not so exorbitant.
And what is the depth of field curvature? Since we are talking about super-wide
In the usual case, the depth of field can be represented as a plane with a certain thickness (depth of depth of field) in a space located perpendicular to the lens. But if it looks more like a part of a sphere (with a center in the lens area), then they say about the curvature of the depth of field.
In the first case, if you approach a flat wall, position the lens strictly across it and focus correctly, you will get the whole wall in focus, even though the distance from the lens to the wall in the center will be much smaller than from the lens to the wall in corners of the frame.
In the second case, the wall will be sharp only in the center of the frame, everything that is closer to the edge will be BEYOND the focus area, the further from the center, the more “out”.
Thanks. And as I understand it, this trouble is treated by diaphragm. I just look at examples from super-widths at the same 500 pixels and a lot of shots were taken at aperture 11-14. It seemed like holding the diaphragm so hard?
In fact, there are not so many lenses with serious curvature that you can easily feel, literally one. You can fight with aperture, yes, but this does not remove the effect, it just disguises it and makes it difficult to see it.
As for photographs from super-widths, I think that such small apertures are unlikely to be associated with the struggle with curvature, most likely this is a classic technique for shooting at hyperfocal, so that the depth of field is as wide as possible, so that everything in the image is sharp - both near and far.
In addition, on most widths and super-wide edges of the image are inferior in sharpness (mainly due to coma) at open, i.e. There is a struggle for permission.
Well and still, closed apertures on many lenses allow you to achieve the effect of asterisks from bright points in the frame.
Got it. Well, the most important question? That is, the f8 aperture for hyperfocal at oversize is not enough?
More f / 8 already comes out defraction.
For hyperfocal, f / 4 may be enough. It all depends on the lens and composition.
Landscapes at super-wide are rarely shot, because it’s very difficult to find the right composition. Without experience, one outrage will come out. Do not buy this lens for landscapes, my advice to you.
About hyperfocal and landscapes I support.
About diffraction - let me disagree.
First, it depends very much on the pixel size of the camera,
Secondly, the understood ones “will come out” is inapplicable, at this level it will become theoretically (!) Noticeable; below this it will be impossible to catch it at all, but here it is possible, but in practice it is still completely imperceptible.
Third, a quote: “As a result of the sensor smoothing filter (and the above-described Rayleigh criterion), the Airy disk can have a diameter of about two pixels before diffraction begins to have a visual effect.” Those. due to the correct algorithms for processing data from the Martica, you can easily increase the diffraction threshold by a stop.
Fourth, theoretical calculations are applicable if you shoot a scene with an ideal lens, which all fits into the depth of field. If you have a lens that lathers without serious closure and / or the scene is very extended in depth, then it is better to compromise with diffraction (not always noticeable), rather than knowingly get an unsharp image due to insufficient depth of field or lens defects.
In practice, I can say that up to f / 11 diffraction on the D7000 I do not observe. On f / 16, this manifests itself as a slight softness of the picture.
I think that on a large-pixel DF type D700, you can easily shoot on f / 16 and even on f / 22.
Otherwise, why do lenses need the ability to close to such values?
Let me ask you, Peter Sh, what lenses are best used for shooting landscapes?
For landscapes, the focal length is chosen from the imagination of the photographer. From and To. There are no restrictions in this direction.
I agree with Michael.
The fact is that a picture on a super wide lens comes out with very specific distortions of perspective. Everything close gets even closer, and everything that gets far further. The result is half the earth, half the sky, and beautiful bushes or a river or a girl are somewhere far away on the horizon.
They take off on such lenses either literally at point blank range, and then the old driftwood in the forest becomes a kind of fabulous tree, or when there are many, many interesting things around. For example, a field with flowers and a sky with clouds and sunset. Or indoors, and then they seem huge. Or a report, when you need to push everyone into the frame, but you can’t move away. Or the urban landscape, and then they rule in the lightroom so that from the wild perspective it would not vomit.
Yes, I also clearly see defraction on both the D610 and the D200, D70, D90.
At f / 22, she is already completely ruining the image.
Of course, in Photoshop you can finish a lot of everything, which landscape painters do on solid Internet resources. They are sitting for every picture for hours. But it turns out beautifully, they have the right.
I can clearly see the diffraction after f / 8 on my D300. I still cover up to 11 sometimes, and then a very strong fall is obtained. Only suitable for the web.
Quote from one of Arcadia's reviews: “… even at F / 22, when using on my Nikon D700, the sharpness drop from diffraction is practically not felt.”
There, the pixel is 2 times larger and the diffraction limit, respectively, is somewhere with f / 14. Those. up to f / 16, you can shoot almost peacefully. Secondly, it depends on what to photograph. It's one thing people, another nature or subject, where there are many details. And "practically not felt" the concept is extensible, after all, there is diffraction and it is visible.
I wonder if the image quality at the wide ends of 11mm and f / 2.8 of this lens is different from the previous 11-16 II?
You know, I was wrong.
Be sure to buy yourself an ultra-wide lens. At least a manual Soligor, at least something.
Spit on soap and distortion, it's all in the end garbage.
If not immediately, then learn to use it.
Such amazing photos with no other lens will not work.
These are the most creative lenses of all.
Thanks for the advice. Already acquired the simplest of autofocus kenon 10-18. I came to the conclusion that shirik is difficult. In order to get a good shot, many factors must coincide: here, light, time, and the view itself must be suitable. It’s really difficult to fill the space with our often gray landscapes
One of the most common misconceptions is that I live in a hole, I don't go to resorts, there is nothing to film.
What is the value of photography, and of any artist as a whole?
The ability to see what others cannot see. You find it, shoot it, show it, and they say - How, we have this here ?!
I fully join. I always remember the words of one artist, who unfortunately is no longer alive, that beauty is everywhere around us, it is under our feet.
Now the trees are bare. You can find many colorful details in the forest or park. But we begin to shoot with a close distance. With a close-up.
The photographer should always be on the lookout, otherwise he does not develop as a creative person.
Without torment and torment, masterpieces will never work.
Fully agree with you.
Excellent written comment. Indeed, beauty is not in the surrounding reality, but in the human soul ☺
Consistency is the key to success! Shoot more often and it won't be that hard. ;)
I apologize (the first photo with a 24mm FR log (24-70 2.8e) I don’t know how to delete a comment, so I am debugging the next one from 11-16 2.8 tokina (did a comparison :))
Let me express my doubt that this is exactly 11 mm of the focal point exactly in the equivalent of 35 mm. More like 16-18 somewhere.
Perhaps this was shot on the D810, but in crop mode. There is nothing wrong with that, the megapixels of this camera are dofig, even in DX mode there are still as many as 16.
Do not hesitate;), checked more than once!
I bought for Nikon d90, which I later sold and left the lens, and as it turned out, not in vain :).
Here is a frame without editing the geometry and processing.
Link to the original RAW (40mb) https://cloud.mail.ru/public/H2G5/eJC8tZCoS
PS Thanks Radojuva !!! If I had not read about Tokina 11-16 on this site at one time, I would never have bought such a wonderful lens!
You are wrong, with this lens it turns out to shoot from about 16 mm in full frame.
The key to success is a well-processed photo, no matter how wide it is taken.
This is 11-16 2.8 Tokina, if I hadn’t bought it before, today I would definitely buy 11-20 2.8 Tokina. I take pictures on the D810 FF, it turns out even a little wider than 11mm.
That is, it is a full 11mm on the FF?
Wonders! So no FF super wide-angle lens at a super price is needed!
I agree, not needed! I think this is good quality for a reasonable price, on Flicker there is a group of 11-16 Tokina, they photograph both crop and FF, see for yourself.
But what about fish?))
Arkady, hello! Thank you for the blog, and again for your help. Well, it's hard technically to figure out what you need. I shoot on the Nikon D300S / Nikkor 50 / 1.8G, but not always my kids, the girls fit in the frame as I would like. I want it to be aperture and sharp and budget)) I look at this one, I also looked at the Zenitar 16 / 2.8 MS "Fisheye", but you do not recommend it to the crop. Thank you in advance!
I also liked this one) Tokina AT-X PRO AF 28-70mm 1: 2.6-2.8 (Tokina AT-X 270 AF PRO)
That's just this one that will fit your children into a frame (24-70) and will do for something else) But fisheye (fisheye) is neither a portrait nor a landscape painter. This is a specific lens with its own line of creativity. I would recommend you decide: either portrait shooting or subject.
Thanks for the advice!
Hello.
I would like to clarify what the focal length for the Canon 11-20 or 17.5-32 crop camera will be.
With 11-20mm Tokina on Canon cameras with APS-C sensorhaving a crop factor of 1.6, this lens will behave in viewing angles as a 17.6-32 mm lens on full frame camera.
Thanks for the great review. This is what I was looking for!
The lens is really good. Sorry for the D300 with it, the exposure meter is mistaken and overexposes the frame by about a step.
I have a similar situation on the other two lenses from Tokina and Nikkor 35-70. You have to constantly correct or use the correction in the camera itself -0.7EV or -1.0EV, according to the situation.
For some reason, this is not the case at Sigma. But the picture is worth the correction.
I agree. It's like that
Hello))) Please tell a lens to my old man Nicon D80 will do
Yes, it does.
A cool lens, but the question on Canon is almost half the price (not only this, but others) why? They put expensive glasses in Nikon lenses, but can they manage with plastic and plastic? I don’t understand.
In fact, the price is the same, for new, for the secondary. Apparently you have a region with special loyalty to the canons
Arkady, hello. What do you think about sigma 18-35mm / 1,8 for nikon 90d? I haven’t yet had a lens in operation except for the 18-55mm standard lens ... (18-105mm)
Sigma 18-35 is a monster of sharpness and weight. But there is such a moment that the d90 matrix may turn out to be a weak point and you will not see any increase in sharpness. Yes, you will feel f1.8 and almost 1kg of weight, but all its sharpness can be seen on the carcass without an anti-moire filter. It is better to use it on d7100, d7200, d7500, d500 or z50.
This is my wife's favorite lens, even though it weighs a hell of a lot.
Thanks to the author for a detailed story and examples of photos. Unfortunately, the text contains general assessments such as "works well in a backlight", and in the examples there is only ONE picture per topic. I dare to assure that the test photos, which are intended here to be, should reveal the author's ideas as accurately as possible, if he wants to tell exactly about the lens, and not just write a custom review. IMHO. Thanks for the story anyway. Small flaws just need to be taken into account and add photos to illustrate the above. Regards, Oleg
Thanks. I don't have a single “custom” review on Radozhiv :)
I purchased this lens, I use it for about 5 months. This is the only shirik that I have ever used, so there is nothing to compare with. I will describe only the cons.
1) Fierce HA in the corners of the frame, they are even a covered aperture (up to f8). There are no aberrations only in the very center of the frame.
2) The lens produces excellent sharpness at minimum DF, i.e. by 11 mm. At 16 and 20 mm, it’s not at all right, especially at the open diaphragm (more on this next point)
3) In order to achieve at least some sharpness in the frame, the aperture must be covered at least to f4, it is optimal to shoot at f8-f11. From here I came to the conclusion that this lens has no special sense in aperture. For filming, for example, in dark rooms, you need to find a compromise between soap and noise. I chose the second and raise the ISO to critical values (in my case, it is 2500-3200 units on the D7200), and then painstakingly remove these noises in the editor. Yes, the image is friable, but at least small details are visible.
4) I compared the frames shot on Sigma 17-50 / 2,8 with this Tokina at ~ the same FR, Sigma turned out to be much better literally in everything.
5) After a couple of weeks of careful use, the golden strip came off. For something to fall off the lens - this is my first time at all.
In general, taking into account all these shortcomings, very decent and interesting pictures are obtained, but still, I personally expected to get a better product. However, the lens is like! Took a permanent place in the backpack.
With widths, everything is complicated. And this is almost over-wide. And aperture. It has a slightly different use case. In fact, these are two lenses in one.
At 2.8, you shoot something by placing the central subject in the frame and blurring the background. Then the HA in the corners are not noticeable, and the vignette even gives some kind of charm.
On the more familiar landscape aperture 8-11, you eliminate the vignette and HA. But there a tripod is already needed.
If you need to shoot in dark rooms, then you need either a tripod (which is not always possible) or something a step darker, but with a stub that extends an additional three or four steps. Tamron 10-24, for example.
Widths are always compromises on a number of parameters.
At 2,8 I'm not even trying to shoot anymore, the result is not so hot. Here is a picture on f4, FR 11 mm (with minor color correction in the editor, shot on D3000). A good sharp center, but you can clearly see how many HAs are throughout the frame. And if you increase, then they can be seen even in the center.
https://yadi.sk/i/pOrTjwxNnvddQQ
The choice was just between Tamron and Tokina, and at first I wanted to buy Tamron, because it is cheaper, there is a stub, the range of FR is larger and you can adjust it at the docking station. Confused some reviews on the first generation and I chose Tokin, but mainly due to the constant best aperture. In fact, it turned out that the working diaphragm starts only from f4.
A tripod, of course, is a very good thing, but carrying it with you everywhere is a very dubious occupation) For example, in many temples shooting as such is prohibited, and even more so using tripods.
There is Tokin 11-16 / 2.8 and also at FR = 11 he is sharper than at 16, there is not even a talk about Sigma - sharp with an open one. But there is one thing - Sigma cannot shoot with FR 11, but Tokina can. And it seems like no one else has 2.8 aperture on such a focal aperture.
Hello! Tell me, on a camera with new multi-pixel matrices (I have a Nikon D7500, 21 megapixels), which is better to take - this Tokina 11-20, or 11-16 2.8 II? Will there be a noticeable difference in image quality between them (except for focal ones)? There is an option 11-16 2.8 II at a good price, so I'm thinking whether it's worth overpaying. Earlier I noticed that the Sigma 17-50 2.8, which gave a good result on the 7000th model, is not that good on the 7500th model, it is soapy (.
Thanks in advance for your reply.
))) I don't even know what to write, everyone before me probably also smiled in silence.
Sigma works great with such a matrix, I myself was 7100 with it myself, and there are more than 7500 pixels.
Apparently just fine-tuning the focus will help in the new camera or with it, and not with the lens that something is wrong.
I confirm that the sigma 17-50 on the d7500 gives an excellent result.
For the sake of experiment, I put it on d850.
Who was interested - I inform you 17 ... 20mm working interval on FF
Or agree with the camera and switch it to DX.
There is an option to cut to 1.2 on FF, I did not check it, even if it is 16 ... 20mm - not enough. Only as a way out, when there is nothing at all.
Hi all. Question to the owners of this lens: are corrections for lens imperfections routinely made in Capture NX-D? Interested in "Lense correction". Perhaps there are other features of working with the lens in this program? Thank you for your reply.