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Tokina 11-16mm f/2.8 AT-X Pro DX II for Nikon
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The Tokina 11-16mm f/2.8 AT-X Pro DX II for Nikon
The Tokina 11-16mm f/2.8 AT-X PRO DX II is the update to the ever-popular original Tokina 11-16mm f/2.8 AT-X PRO DX. Designed for Nikon DX shooters, it offers high-quality images with relatively low distortion and good corner sharpness. The ultra-wide angle makes it perfect for sweeping landscapes, while its fast f/2.8 aperture allows you to continue shooting even when the light gets low. With a close focus distance of 11.81", subject isolation at f/2.8 is quite noticeable.Improved upon the original version is a multi-layer coating that improves reflections, as well as a built-in, silent autofocus motor, making the lens faster and quieter during use. Carried over from its predecessor is the One-touch Focus Clutch Mechanism, which allows quick transition from autofocus to manual focus. If you’re looking for a fast-aperture ultra-wide lens, the Tokina 11-16mm f/2.8 AT-X PRO DX II is among the best of them.
Comparing the ultra-wide crop-sensor camera lenses is an extremely difficult task, so I’ll put the summary first: they all deliver excellent image quality, and you can’t go wrong with any of them. By my "just taking pictures" assessment, they are all excellent. There are some differences though, so I’ll try to point those out so you have a better chance at choosing the one that’s best for you.
The Sigma 8-16 f/4.5-5.6 is the widest (and remember, 8mm is 20% wider than 10mm, so it’s a very real difference). Not quite as sharp in the corners as the others and lower maximum aperture, but it’s really pretty good, especially considering it’s the widest of the wide.
The Nikon 10-24 f/3.5-4.5G shows a fair amount of barrel distortion at 10mm (note to self: never take girlfriend’s portrait with this lens) and doesn’t have the best corner sharpness of the group. It’s got the largest range and is fast to autofocus, which makes it a great wide-angle walkaround lens. If I was mostly going to shoot at 15-24 and occasionally shoot wider, this would be a great choice. If I was going to take lots of 10mm scenic shots, I’d probably look at one of the others--they’re a bit better at 10mm.
The Sigma 10-20 f/3.5 has a bit more distortion than the others but delivers very nice images and is also built well. It does everything well.
The Nikon 12-24 f/4G has exceptional center resolution and is very flare resistant but does show some field curvature at 12mm. It’s a very good lens, maybe better than the competition, but not as much better as its price would suggest.
The Tokina 11-16 f/2.8 gives you the widest aperture if you’ll be working in low light (with ultra-wides, depth of field is rarely an important point), but it’s a bit soft at f/2.8, so the aperture advantage isn’t huge (I usually shoot it at f/3.5 if I can, to get it sharper). It has very little vignetting and distortion, probably the least of the group. It does show quite a bit of chromatic aberration at times, but overall it may be the best image quality of the group.
The Tokina 12-24 f/4 PRO is built like a sturdy tank (and therefore a bit heavier). It’s a good lens but does tend to give low-contrast images when shot into the sun and has a tendency to show some chromatic aberration when objects are backlit. This is the one I’d take if conditions were rough: I pity the rock this bad boy falls on.
But like I said above: they’re all excellent. We hardly ever get anything but happy comments about any of them.
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