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Tokina AF 12-24mm f/4 AT-X 124 Pro DX II Lens - Nikon Mount

by Tokina
5.0 out of 5 stars  See all reviews (1 customer review)
RRP: £756.00
Price: £435.25
You Save: £320.75 (42%)
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Usually dispatched within 3 to 4 days.
Dispatched from and sold by i-Motion.
  • Ultra wide angle zoom lens that has the equivalent angle of view to an 18-36mm in full frame (FX) format
  • Built-in AF motor drive
  • This lens can auto focus with the Nikon D60 AND d40 and other silent wave bodies.
See more product details
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Frequently Bought Together

Tokina AF 12-24mm f/4 AT-X 124 Pro DX II Lens - Nikon Mount + Hoya 77mm Pro-1 Digital UV Screw in Filter
Price For Both: £471.74

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Product details

  • Product Dimensions: 12.7 x 12.7 x 10.2 cm ; 517 g
  • Boxed-product Weight: 1.4 Kg
  • Item model number: AT-124 PRO DX II
  • ASIN: B001LD51GS
  • Date first available at Amazon.co.uk: 14 Jan 2009
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)

Product Description

Product Description

Tokina Lens AT-X124ProDX Mark 2 (Nikon)

Tokina Lens f/3.5-4.5 AT-X 107 DX Fish Eye (Nikon Fit)
Tokina Lens AT-X124ProDX Mark 2 (Nikon)

The AT-X 124 AF PRO DX lens is Tokina's first lens designed for use exclusively on Canon and Nikon Digital SLR cameras having an APS-C sized sensor. This lens was given a rating of 89% in What Digital Camera with a Recommended Award in a recent issue.


This lens gives the Digital Photographer an ultra wide-angle zoom lens that has the equivalent of an 18-36mm zoom range on a 35mm film camera while maintaining a bright constant aperture of f/4.

Specifcations:

  • Focal range: 12-24mm
  • Maximum aperture: F/4
  • Minimum aperture: F/22
  • Optical construction: 13 elements in 11 groups
  • Coatings; Multi layer
  • Angle of view: 99 degrees - 61 degrees
  • Minimum focus distance: 11.8 ins
  • Magnification ratio: 1:8
  • Zoom system: Rotary type zoom
  • Aperture blades: 9
  • Filter size: 77mm
  • Dimensions: 84mm diameter
  • Dimensions: 89.5mm length
  • Weight: 540g
  • Lens hood included: BH-777 Star bayonet

Features:

Non-Rotating Filter Thread

Non-rotating 77mm filter threads mean special effect filters will not change when the lens' focus is changed.

One Touch Focus Clutch

Fast internal focusing with Tokina's One-Touch focus clutch mechanism allows the lens to AF focus faster and switching between auto and manual focus is as easy as snapping the focus ring back and forth.

Automatic Correcting of Aspherical Abberation

2 sharp-cut aspherical elements accurately correct aspherical aberration usually associated with ultra-wide angle lenses.

Wide Aperture

Bright, constant f/4 aperture allows plenty of light to enter the camera for shooting in a wide variety of photographic situations.

Materials Chosen for Ease of Use

Chrome plated brass mount plate and all-metal zoom unit can stand up to regular use while advanced polycarbonate outer lens barrels reduce the weight of the lens.

Tokina Optical Technology

Aspherical Optics

A standard lens is made up of a combination of spherical lens elements. Individual "lenses" within the lens are commonly referred to as "elements". A spherical element has an even curve to the surface of the glass. However, there can be problems with such elements; light entering the center of the lens and light entering at the edge may not be perfectly focused at the same point. This is called spherical aberration. More advanced computer assisted optical designs are creating lenses with more spherical elements. More spherical elements within a lens means a greater risk of spherical aberration having a negative impact on optical quality.

Wide-angle zoom lenses and wide-angle lenses with large apertures are especially at risk for spherical aberration.

To eliminate spherical aberration, Tokina employs aspherical all-glass elements in many of its optical designs to correct this problem. The aspherical shaped surface of the lens element focuses light rays entering both the center and edge of the element correctly at the film plane for an accurately focused image. In addition to correcting spherical aberration, these elements fully correct light quantity and distortion at the edge of the image and provide excellent results when used in combination with a floating element design.

Through a close collaboration with Hoya Corporation, the world's largest optical glass manufacturer, Tokina has succeeded in producing high quality precision molded all glass elements with a greater aspherical shape than any other lens manufacturer. This technique is unparalleled in its technological sophistication and precision.

F&R Aspherical

This lens, the AT-X124 PRODX Mark II encompasses Tokina's new F&R aspherical molded glass elements. These give outstanding performance with very even illumination in the corners and correction of spherical aberration across the image area.

SD Super Low Dispersion

When standard optical glass is used in telephoto lenses, a phenomenon called chromatic aberration can occur. Chromatic aberration is the inherent tendency for glass to disperse (separate) a ray of light into the colors of the rainbow. The rainbow effect created by a glass prism is the most dramatic demonstration of chromatic aberration. In lenses, it is much less pronounced, but still creates slightly out of focus colors, akin to an "optical noise" that has a negative impact on the quality of the picture. To eliminate chromatic aberration, Tokina employs expensive, special glass material having super- low dispersion (SD) properties.

Lenses in the Tokina line-up with the SD mark incorporate these Super-Low Dispersion glass elements, minimizing the secondary spectrum or optical noise caused by chromatic aberration.

HLD

Tokina's wide-angle and standard zoom lenses feature a higher quality of optical glass known as Tokina HLD (High-refraction, Low Dispersion) glass. Having higher refractive index and lower dispersion properties, HLD glass is far less likely than standard optical glass to create lateral chromatic aberration, which is often a problem with conventionally designed wide-angle lenses.

Multi-Coating

Reflections off the surface of lens elements are the enemy to any photographer and to every lens manufacturer. They are reduced or eliminated by bonding multiple layers of a transparent anti-reflection chemical to the surface of the glass. Tokina has developed and perfected a unique coating technique for all of its optics so that they will maintain faithful color reproduction and render clean, sharp images.

Mechanical Technology

Floating Element System

When designing a lens, Tokina calibrated its astigmatism at all points between minimum focus distance and infinity so that it will give the best image results at all settings. However, when there are large differences between the focus limits, effect calibration is not possible. A floating element system incorporates optical elements that move in proportion to the focus setting of the lens. This allows astigmatism to be corrected. Many Tokina lenses employ floating element systems to provide optimum correction of astigmatism from minimum focus distance to infinity.

Internal Focus System

The two most used methods of focusing a lens are either the complete straight forward movement of lens elements (used mainly with single focal length lenses) or the rotation of the entire lens barrel group (used mainly with zoom lenses). The internal focusing system used by Tokina move each element group within the lens, but does not change the overall length of the lens. This is especially useful with telephoto designs.

The internal focusing system has a number of advantages including;

  • Faster focusing
  • Improved handling due to fewer movements near the center of gravity
  • More compact lens designs
  • Superior use of filters because the barrel with the filter thread does not rotate.
Focus Clutch Mechanism

Tokina AT-X PRO series lenses all feature the patented "Focus Clutch" Mechanism for switching the lens between auto focus and manual focus modes.

The manual focusing ring can move (be snapped) back and forth between an AF and MF position. When the focusing ring is forward in the AF position, it is not engaged to any of the internal focus gearing and will turn freely. Without the added weight of the metal ring the camera can auto focus the lens more quickly and smoothly.

For manual focus, simply rotate the focus ring all the way to one side or the other on the focus travel, either infinity or it's closest focusing distance, then pull back (towards the mount plate) on the manual focus ring. While pulling back, rotate the ring from one side of the focus travel to the other. When the gears align, the focus ring will snap back into the MF position and the lens can be focused manually.

To return the manual focus ring to auto focus mode, simply snap the ring forward from any point.

Product Description

Tokina ATX 4,0/12-24 Pro DX II N/AF for Nikon


Customer Reviews

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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars Great wide angle lens! 6 April 2013
Amazon Verified Purchase
I rented the Tokina and Nikon version of this lens for a commercial job several weeks ago. Tested both lenses and the Tokina was much better with flare control. The images just looked crisper at 100%.
Last week I shot a lighting fixture catalog job and bought the Tokina for it.
Next week I will be in Maine for another commercial job and the Tokina 12-24 and the Nikon 24-70 are in the camera bag.
The Tokina feels very rugged and focus and zoom are smooth. Very happy with my purchase.
Recommended for landscape and architecture photography.
Yes, I would recommend this to a friend!
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 3.9 out of 5 stars  24 reviews
58 of 59 people found the following review helpful
5.0 out of 5 stars Very pleasant surprise! 21 Aug 2009
By Orville Burgess - Published on Amazon.com
Amazon Verified Purchase
I received my Tokina 12-24mm DXII wide angle lens very quickly. I could not wait to put it through some paces even though I was hesitant at first to try anything but Nikon lenses. I use a Nikon D90 and this lens is flawless with it. The auto focus is very quiet and responsive. I ran it through the gamut of fstops at every setting from 12mm to 24mm. My results indicate that it is a little soft wide open but quickly sharpens as you progress through the settings. At 14-15 mm seems to be very sharp. The colors are true and vibrant. I took over a hundred pictures at church, mostly outside, both in the shade and sunshine. I did not see any distortion or chromatic aberrations. If there were any, my camera must have corrected them automatically. I probably should mention I compared this lens to my Nikon 18-105mm with VR, side by side and picture for picture, at all settings. The Tokina is actually sharper at 18mm than the Nikon 18-105. Up to and including 24mm, they both were very good. This was a pleasant surprise to me and I would not hesitate to recommend this lens to anyone who might being trying to decide whether to purchase it.
31 of 34 people found the following review helpful
4.0 out of 5 stars A good lens at a good price 21 Oct 2010
By A Reader - Published on Amazon.com
I got the Tokina 12-24 f/4 DX II a few months ago. It is a well-built ultra-wide angle lens (UWA). Like all UWAs, it is not the easiest lens to learn to use -- distortion lurks in every move. If you want no distortion in a photo, you need to make sure that anything that is within a few feet of the lens is not off to the left or right of your field of view. If it is, it will be stretched wide. You need to make sure that you point the camera to the horizon point of the field of view, and don't tilt the camera up or down. If you do, the vertical lines will bend in or out. Further, you want to have significant objects up close to the lens, a dozen or so feet back, and off in the distance to give the full sense of 3D depth of field that the lens can provide. And finally, you want to know when to break these rules to invoke one or more of those distortions for artistic effect. This lens may take a lifetime to really master, but it is a lot of fun to experiment with.

The lens is quite sharp and, like all UWAs, has a very deep depth of focus -- even wide open. Its contrast and color fidelity are excellent. Some people find it a bit on the cold (blue) side, but I find it faithful to the colors that I see. If you find it too cold, the Sigma UWAs are skewed more to the red (warm) end of the spectrum. For my taste, they seem off, but YMMV. The other Tokina that many people love is the 11-16 f/2.8. It is based on this lens' design, and is similar in most ways. Its narrow zoom range was off-putting to me, as I like to choose one lens and keep it on for an entire outing if possible. The 11-16 just seemed too unremittingly wide angle to use as anything other than a specialty lens. I have been quite content with the 12-24 in this regard, and have been happy to limit myself to just this lens on some excursions. For example, I only used this lens when I went to the Chihuly glass exhibit in Grand Rapids. I have posted a couple of photos from that event above.

I have had a couple of disappointments with this lens. First, the lens hood that came with it is visible in the upper corners at 12mm. This is a rare instance of lack of attention to detail by Tokina, which is a wonderful lens company in general. Second, this lens will fail to focus more than any other lens I own. That may reflect the extreme depth of field of an UWA, as just about everything is always in pretty good focus with this kind of lens -- so it may be hard to choose the "right" focus. Indeed, I will often manually focus this lens now. The lens has a focus scale on it and you don't have to be too precise with UWAs, so it is easier at times just to eyeball the distance and set the focus by hand. It's easy to do, so I don't want to give the impression that this represents a big deal -- it was just something that surprised me. For the most part, the lens focuses reliably and quickly. But, in some reasonably well-lit contexts, it just doesn't want to choose a focus.

This lens has pronounced chromatic aberration (CA), but I never see it. One of the pleasing aspects of current cameras is that they handle this sort of thing very well in software. While I always shoot raw, I use Capture NX2, which applies the same lateral CA correction that my camera would apply if I had shot JPEG. If you shoot raw and do not use Capture NX2, you will have to manually correct for the CA. But most image processing software makes this relatively easy to do.

Flare is a real issue with UWAs, and this lens is no exception. The DX II is supposed to be an improvement over the original Tokina design, but it is still a constant concern when you compose your shots. All in all, this lens is a lot of fun to use, but it is also a tremendous challenge to learn to use well. If that piques your interest, then you would probably enjoy learning to use an UWA. If so, the Tokina 12-24 f/4 DX II is just about as pleasing an example of a UWA lens as you could hope to find, and it is very competitively priced. I highly recommend this endlessly fascinating lens.
14 of 14 people found the following review helpful
5.0 out of 5 stars Awesome build 9 Feb 2010
By G. Joseph - Published on Amazon.com
I just got the 12-24 II today. I tried out a few shots inside the house and was impressed by the quality/sharpness of the pictures so far.

I can say the lens build seems very solid. The rubber focus and zoom rings had a very tactile feel and a smooth & silky travel. The focusing with my D300 was very quiet. Much quieter than with my Nikkor 50mm f1.8. It was also heavier too. But what isn't compared to the tiny 50mm f1.8

The manual selection ring or "clutch" is a very cool feature and means I don't have to fumble around for the little manual switch on the camera any more. It also means I can't accidentally change the focus by brushing against the ficus ring like in some of the other lens I researched.

Overall the new version II of this lens feels like old world engineering.
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