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  • Tokina AT-X PRO 11-16mm F2.8 DX Lens -  Canon AF Mount
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Tokina AT-X PRO 11-16mm F2.8 DX Lens - Canon AF Mount

by Tokina
| 3 answered questions

Available from these sellers.
1 used from £350.00
Canon
  • Fast internal focusing
  • One-touch focus clutch mechanism
  • Rotary type zooming system
  • Waterproof optical coating on the glass for ease of cleaning
  • Filter size: 77mm

There is a newer model of this item:

Tokina AT-X Pro DX II Macro Lens with BH 77B Hood for Canon Camera
£462.74
Usually dispatched within 2 to 3 days.

Product details

Style Name: Canon
  • Product Dimensions: 20 x 15 x 15 cm ; 558 g
  • Boxed-product Weight: 862 g
  • Item model number: ATX 11-16mm
  • ASIN: B0014Z3XMC
  • Date first available at Amazon.co.uk: 4 Jun. 2008
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (63 customer reviews)

Product Description

Style Name: Canon

Product Description

Tokina Lens AT-X116 PRODX (Canon)

The Tokina AT-X 116 PRO DX is an ultra-wide angle lens with a fast f/2.8 aperture for better photography in low-light situations. Many photojournalists consider having an f/2.8 aperture a must for any lens in their camera bag.

Tokina Lens AT-X116 PRODX (Canon)
Specifications:
  • Focal length: 11-16mm
  • Maximum aperture: F/2.8
  • Minimum aperture: F/22
  • Coatings: multi layer
  • Angle of view: 104 degrees - 82 degrees
  • Minimum focus distance: 0.3m
  • Macro ratio: 1:11.6
  • Focusing mode: internal
  • Zoom mode: rotary zoom
  • Number of aperture blades: 9
  • Filter size: 77mm
  • Width: 84mm
  • Height: 89.2mm
  • Weight: 560g
  • Lens hood included: BH-777
Award-Winning Design

Based on the award-winning optical design of the AT-X 124 PRO DX (12-24mm f/4) lens, the AT-X 116 PRO DX has a slightly shorter zoom range to maintain optical quality at wide apertures.

One Touch Focus Clutch

Tokina's exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. There is no need to change the AF-MF switch on Nikon cameras and there is no second AF/MF switch on the lens for Canon, everything is accomplished by the focus ring. – Will not AF when used on Nikon D40 SLR camera body.

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-X116 PRO DX 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.

Box Contains

  • Lens
  • Lens Hood

  • Customer Questions & Answers

    Customer Reviews

    4.7 out of 5 stars
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    Most Helpful Customer Reviews

    61 of 61 people found the following review helpful By Amazon Customer on 16 May 2009
    Style Name: Nikon Verified Purchase
    OK. I've owned this for about a month. I chose this lens after weeks of deliberation. It eventually came down to the Nikon 12-24mm F4, this Tokina 11-16mm F2.8 or wait for the new Nikon 10-24mm F3.5-4.5. I decided on this the Tokina mainly because of the constant F2.8 aperture. Most independent reviews I have read, rate this lens over the Nikon 12-24 on image quality and on a par for build quality. I have to say I am not disappointed. The corners are a little soft at F2.8 but by F4 the corners are sharp and the Nikons don't go to F2.8. The centre of the frame is razor sharp at any aperture (Certainly from F2.8 to F11).
    Filter size is 77mm and with a Hoya HMC UV on the front there is no vignetting I can see at the 11mm setting.
    One point to note is that there is no autofocus with this lens on the D40/40X D60 D5000 as it requires a body with a built in AF motor.
    Another point of note is that this lens will cover a FX or 35mm frame at the 16mm setting with good to adequate results, so if you still carry a film body along with your DX digital camera you can get away with this lens on both.
    Some people may think that the zoom ratio is restricted but most people own an 18mm to something standard zoom so the gap between this lens and that standard lens is tiny. Plus the fact that the zoom range is limited means the designers were able to concentrate on squeezing the maximum image quality from the lens, which they did.
    You may have read elsewhere about focus errors on some batches of this lens, I have to say that my example exhibits no errors that I can see, and I am sceptical as to how far out a lens this wide would have to be to exhibit focus errors, as the depth of field is substantial even at F2.8.
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    23 of 23 people found the following review helpful By M. Bhangal TOP 500 REVIEWERVINE VOICE on 20 Jun. 2010
    Style Name: Sony
    I won't go through image quality with the Tokina because this lens has already been reviewed to death on the internet. The fact that this lens is both faster than competing lenses (Sigma/Sony) and that this lens produces mathematically simple distortion (so that you can easily correct for it in Lightroom or Photoshop) makes the Tokina the wide angle lens of choice.

    I would also recommend this lens over the just-released Sigma 8-16 because despite its lower focal length, the Sigma produces both complex distortion and is slower.

    What you will not realise from the online reviews is just how useful a wide angle lens actually is, so that is what I will consider here (I also consider differences between the Sony version and CaNikon version at the end)...

    Everyone immediately thinks of landscape and architectural shots when considering a wide angle, and this is partly correct; search on Flickr for Tokina11-16 to see examples (there is a group specifically for this lens). What is less realised is how useful this lens is for the commercial photographer for everything *except* portraits.

    The wide angle effect can produce extreme perspectives, and because advertisers like images that `pop' because of their unusual perspective, this is useful if you sell stock photography (and you SHOULD sell stock photography if you are buying a 500 quid lens - its not the money you make that is important, its the ability to recover the tax on your equipment expenditure!). Those stock images of business people with big heads and small bodies are not as you might think shot with a fish eye lens - they are most likely to be done with a wide angle, because a wide angle changes proportion in a linear way. See the wide angle shot of my cat on the customer images that shows this.
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    15 of 15 people found the following review helpful By R. Franklin on 27 July 2010
    Style Name: Nikon
    Purchased this lens last week - it arrived quickly and was well-packaged like all purchases from Amazon have been.

    Was slightly apprehensive because Tokina isn't a brand I have heard much about - normally I wouldn't contemplate spending this sort of money on a lens i hadn't held and used. However it has been reviewed very highly so I took a gamble. First impressions are that it is very well made; predominantly plastic but very sturdy. It feels more solid than my Nikkor 70-300mm VR; which itself is a nicely-built lens. The zoom action is firm (not stiff) and precise and is the usual clockwise motion (why do Sigma insist on anti-clockwise?!). There is no zoom-lock but it holds firm anyway so that's no bother. The only thing I can fault in the design is the focus ring that needs to be pulled downwards to engage Manual focus - I much prefer the Nikkor design whereby you simply twist the ring to quickly switch from Auto to Manual focus. This is a bit of a shame.

    That said, this is the only negative I have found. The zoom is wide - equivalent to 16.5mm on my Nikon DX format SLR - and being a fixed aperture 2.8 lens it is bright. At 11 - 16mm there is only 5mm of play, magnified to 7.5mm when you take into account the DX crop. This is a small range compared to say the Nikkor 10-24mm but who cares - the whole point of a wide-angle is to use it at it's widest! I have only a handful of results to go on so far but they are enough - i'm impressed. At f2.8 it's usable in low light if you forget your tripod. Yesterday I shot at f4 and the corners of the frame are sharp. There is no VR but I don't think any ultra-wide angles have this - even Nikon's own £1400 12-24mm. VR isn't necessary for this type of lens.

    All in all i'm very impressed and a welcome addition to my kit-bag.
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