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Tokina AT-X PRO 16-28mm F2.8 FX Lens - Nikon AF Mount

by Tokina

RRP: £1,072.30
Price: £699.00 & FREE Delivery in the UK. Details
You Save: £373.30 (35%)
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Nikon
  • A new generation of full frame lenses
  • Silent DC motor with GMR senor
  • One-touch focus clutch

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Style Name: Nikon

Product details

Style Name: Nikon
  • Product Dimensions: 9 x 9 x 13.3 cm ; 948 g
  • Boxed-product Weight: 1.4 Kg
  • Item model number: AT-X 16 - 28 PRO FX
  • ASIN: B003V1YGSW
  • Date first available at Amazon.co.uk: 26 Nov 2010
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)

Product Description

Style Name: Nikon

Product Description

Tokina Lens AT-X 16-28mm f2.8 PRO FX (Nikon fit)

The ATX 16-28 is one of the Tokina´s new generation lenses designed for Professional Digital SLR Cameras including the Canon EOS 5D Mk2 and the Nikon D700 and D3X. The 16-28mm zoom range offers the photographer a super wide angle of view for dramatic close up effects or big takes of entire scenes. This lens was given the What Digital Camera Gold Award in June 2011.

Silent DC Motor with GMR Sensor

The Tokina 16-28 uses a newly developed silent DC motor that allows the lens to fast focus. The DC motor coupled with a new GMR magnetic AF sensor work together to increase AF speed.

Aspherical and Super-Low Dispersion Glass Elements

A new 56mm diameter glass element is incorporated into the front lens group and 2 more aspherical elements in the rear group. 3SD super-low dispersion glass elements are also incorporated throughout the whole optical design.

Tokina Lens AT-X 16-28mm f2.8 PRO FX (Nikon fit)
Specifications:
  • Focal length: 16-28mm
  • Maximum aperture: F/2.8
  • Minimum aperture: F/22
  • Optical construction: 15 elements in 13 Groups
  • Coatings: multi layer
  • Angle of view: 107.11 degrees - 76.87 degrees
  • Minimum focus distance: 11 ins
  • Macro ratio: 1:5.26
  • Focusing mode: internal
  • Zoom mode: rotary zoom
  • Filter size: N/A
  • Width: 90mm
  • Height: 133.3mm
  • Weight: 950g
  • Built in Lens Hood

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-X 16-28mm f2.8 PRO FX 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

Tokina 16-28brLens hoodbrInstruction manual

Customer Questions & Answers

Customer Reviews

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By clunes on 4 April 2014
Style Name: Nikon Verified Purchase
well built,focus speed is fine and sharp.super value for money.i never used the nikon so i cannot compare the two.
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Style Name: Canon Verified Purchase
A very good lens in general. Produces sharp images, catches focus quickly, works relatively quietly (esp. compared to other Tokina lenses like 100mm Macro that sounds like an old washing machine).

There is one WARNING I need to give to all prospect Canon users. Though the mount will work with your Canon body, Tokina lenses have a bad reputation for their limited compatibility in terms of focus. If you look online there's plenty people struggling with getting many of Tokina lenses to capture focus and shot. Most common advice is to ship them back and get a replacement, but if you buy used and you've got no warranty there's a WORKAROUND: apart from shooting manual that always works but isn't too convenient, you can change your focusing from "One Shot" to "Servo". It may be slightly limiting in some situations, but usually works better than manual.
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Style Name: Nikon Verified Purchase
All the reviews and research I did prior to purchasing this lens paid off.. It's a quality piece of glass that doesn't disappoint.. Lots cheaper than the oem Nikon equivalent and superb quality to rival the Nikon lens
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 46 reviews
48 of 51 people found the following review helpful
Bargain FX Ultra Wide 30 Mar 2011
By Eric T - Published on Amazon.com
Style Name: Nikon
Pros:
Center performance wide open
Corner performance stopped down
Build Quality

Cons:
Corner Performance Wide Open
Focus/Clutch Mechanism is Clunky
Design Prohibits the use of Filters
Early model lens cap (contact your local Tokina distributor for the new cap, THK Photo in the US)

Bottom Line:
Superb ultra wide angle for full frame, especially strong in the 16-24mm range, gets weaker by 28mm. Stepped down it can deliver crisp sharpness even in the most extreme corners. I give it 5 stars due to the price/performance ratio. I shoot test charts and real world images to confirm chart results. My recommendation for this lens is for FX/Full Frame cameras. For crop sensors get something lighter and cheaper.

Review:
AF performance is good, the lenses uses a new DC focusing motor. It isn't silent, but much quieter than screw drive. It works fast and accurately. I find the AF/MF clutch clunky to use.

This lens performs exceptionally well in the center, even at f/2.8, but still sees a large improvement at f/4. I have had two copies of this lens, and the second copy is slightly softer at f/2.8 in the center, but sharper at f/4 and up, and also lacks the centering defect that my first copy had. The lens is perfectly usable for a close central subject at f/2.8 at any focal length.

For best corner performance and for infinity focus step the aperture down to at least f/5.6 at 16mm and f/8 at 22mm. This held true for both samples of the lens I tested, and the lens is definitely strongest at 16mm where corner performance reaches excellent levels.

Lateral CA is easily visible at 16mm, but is correctable. It is less noticeable towards 28mm.

Distortion is relatively minor for this wide of a lens. It has about 2.5% barrel at 16mm and works down to about 0 at 28mm.

Vignetting is noticeable at f/2.8, but improves on stepping down.

The lens is fairly resistant to flare, but if the sun is in/near the frame you will likely see some flare spots shooting across the frame. This is typical of large front element lenses.
32 of 33 people found the following review helpful
Tokina 16 28 fx 25 Oct 2012
By Nikonpro - Published on Amazon.com
Style Name: Nikon Verified Purchase
I am usually one to stick with only Nikon products. I have everything that I need to shoot professionally expect a great wide angle. I have been renting or borrowing as i needed. I have used the Nikon 17-35 2.8 and the Nikon 16-35 4. I was not satisfied with either lens. I just bought the Tokina 16-28 2.8. This lens is SHARP! I have noticed some flare and reflection of light, but that is situational. The build quality is great. In my opinion this lens is sharper than the Nikon 17 35. 2.8, and has far less distortion than the Nikon 16 35 f4. I would suggest this lens to anyone that can not afford the Nikon 12 24.
28 of 31 people found the following review helpful
A Nice Lens--But, Perhaps, Not for the D800/E 12 Jan 2013
By Gatorowl - Published on Amazon.com
Style Name: Nikon
I recently obtained this lens to fill in the ultra-wide angle slot in my D800E kit. Nikon is one of the top lens producers, but affordable zoom choices on the UW end are limited. There is the 14-24mm--which is outrageously expensive--and the 16-35mm, which has some of the most outrageous lens distortion at the wide end of any lens in the $1000+ price range. I had a copy of the 14-24mm, but the large size of this lens and my limited UW usage, had me questioning whether I needed a professional level-UW lens. The Tokina reviews had me convinced that this lens might be a reasonable--albeit, not perfect--substitute. Armed with a gift certificate from an Amazon.com competitor and the $100 rebate, my net cost of $699 made this lens irresistible.

Overall, I think I will keep this lens, but I'm not performing my happy dance over it. My test shots were landscape with subjects at distances of 10 meters to infinity (same non-rigorous shots at closer distances suggest that the lens does much better close in). The D800/E twins are very demanding, and this lens has trouble keeping up. It's best to think of this lens as an f/4 or even f/5.6 lens. At no focal length level does f/2.8 produce acceptable results. It is simply out-and-out soft. In fact it was so soft, that I thought that it was, perhaps, out of focus. However, the lens sharpens up a bit by f/4 and reaches maximum sharpness at f/5.6 or f/8. In fact, I found it to be "prickly sharp" at f/8 for all tested focal lengths (FL) (16mm, 20mm, 24mm, and 28mm). Although for some FLs, f/5.6 was sharper in the center, f/8 invariably provided the best side-to-side sharpness.

The lens is at its best at 16mm, which is a good thing because presumably photographers purchase UW lenses primarily for their widest FLs. Sharpness at f4 is acceptable, although the corners are very soft here. Center sharpness improves dramatically by f/5.6, and f/8 provides the best side-to-side sharpness. The 20mm FL is nearly as good and exhibits the same pattern. However, 24mm is somewhat worst overall, but not substantially. As with wider FL, f/2.8 should be reserved for emergency use only. Center sharpness is noticeably soft and the sides are just horrible. F/4 improves significantly all around with acceptable sharpness in the center and soft sides. F/5.6 is wonderfully sharp in the center with f/8 providing the best uniformity. The 28mm FL follows a similar pattern. However, the lens never reaches the maximum level of sharpness that I observed at 24mm. At this FL, I'd have to say that f/4 is nearly as unacceptable as f/2.8. F/5.6 and 8 produce the best center sharpness, but are marginally less sharp than levels observed at 24mm. However, the sides and corners to increase in sharpness with aperture values. Frankly if your kit contains a 24-XXmm lens, switch to that lens before shooting at 28mm. I definitely wouldn't use this lens at 28mm for critical landscape photography.

As for other lens characteristics, distortion is extremely well controlled. It is at its worst at 16mm but phenomenally better than the 16-35mm (a lens that I tested for a couple of weeks). I think distortion here is similar to the 14-24mm, but since I no longer own that lens I can't say for certain. At 20mm and above, distortion is only a problem for the most discriminating shooters (a club of which I do not belong). Color and contrast are excellent and, in my eyes, appear to be very accurate (neither warm or cold). I found shots taken to be quite pleasing. Chromatic aberration is clearly present, but not distracting. The CA also is easily removed in post. The lens is heavy and large. However, it is not as wide as the 14-24mm. The bulbous top of the 14-24mm is massive and never fit comfortably in any camera case/pack that I had. The top of the Tokina is sufficiently smaller for me to feel comfortable taking it with me when traveling.

Other things to note about this lens is that using a tripod is critical for getting the best results. The old rule of thumb about motion not being as important with wide angle, doesn't hold true with the D800/E twins. Shooting with this lens is extremely sensitive to motion. My keeper rate was very low handheld--especially at 24mm and above-- for shutter speeds below 1/300sec. The tripod makes a huge difference. Therefore, If you are a devoted handheld shooter, then take a serious look at the Nikon 16-35mm with VR. It will be worth the additional expense.

In conclusion, shooting on the D800 or D800E, I consider this lens to be a f5.6. I'd use f/4 in a pinch for 24mm or wider, and I'd use f8 when uniform sharpness is required. However, it is really hard for me to think of a situation in which I'd find f/2.8 acceptable. For $700 or $750, these tradeoffs are definitely worth it. However, if your passion is wide and ultrawide photography on the D800/E, then I strongly encourage you to consider other options.

EDITED MAY 1

I sent the lens off to Tokina for adjusting. I received the lens back with a generic letter stating that all components had been adjusted. Not sure what that meant but the lens did indeed perform better. 2.8 is now acceptably sharp from 16mm almost to 24mm. At 24mm 2.8 is really borderline and at 28mm 2.8 is just out and out soft. Contrast is also noticeably inferior at 2.8 compared to smaller apertures. While 2.8 improved after servicing, 4.0 shows a much bigger improvement. Below 24mm 4.0 is extremely sharp and very contrasty. It gets even better at 5.6. 24mm is okay but I really love this lens below 24mm. Use 28mm only in extreme emergency. You can get a decent capture at 28mm, but you are no where near tapping the full capabilities of the D800/E cameras. I'd like to think of this lens as an excellent 16-22mm lens. One other thing that became clear after the return. Compared to the new Nikon 18-35, the Tokina has relatively soft edges. What I find is if I don't need 16mm or 2.8 and really want edge-to-edge sharpness, I'm much happier shooting the 18-35mm.
27 of 30 people found the following review helpful
Excellent, but beware of lens flare. 27 Oct 2012
By kendalltristan - Published on Amazon.com
Style Name: Nikon Verified Purchase
This was the first SLR lens I purchased, originally for use with a D5100 but knowing I would eventually buy a full frame camera (now using a D600). Optically this lens is pretty fantastic. I've had no issues getting razor sharp images from either camera (much easier with the 600 as the 5100 has a pretty strong anti-aliasing filter). If you're worried about lens resolution, fear not as this thing is positively fierce in that department, though it does come with a few downsides.

I have exactly three gripes with this lens. One is major, the other two not so much. First and foremost is lens flare. If you have a light source, any light source, within or just outside the frame, your image will have flare. Honestly I knew when purchasing a lens of this variety that this was going to be an issue, but I underestimated it by a fair margin. Any lens of this particular design is going to exhibit quite a bit of flare, however when compared to the Nikkor 14-24mm f/2.8 this one has an undesirable tendency. The Nikkor flares like crazy as well, but it's mostly easy to control and relatively simple to fix in post processing. The Tokina has a tendency to introduce quarter-circular rainbows around any light source at the points closest to and farthest from the lens center. These become more defined as you stop down. Depending on how you shoot, this might not be an issue. If you're out shooting landscapes with the sun at your back, you'll likely never have a problem. If you're in a studio where you're controlling all of the light sources, you'll likely never have a problem. Sadly I primarily shoot architecture at night so the flare issue drives me quite crazy. I'm rather seriously considering selling this to someone it's better suited for and spending the big bucks on the Nikkor.

Gripe number two is fairly minor: the weight. This lens is heavy. Easily the heaviest that I keep in my normal kit. I don't mind the weight so much when it's in the bag, or even when I'm shooting handheld. It's when it's mounted on the tripod that it's irritating. I frequently keep the camera on the tripod as I walk around and unless I get the ball super tight, it starts creeping down due to the lens weight. Again, not a very big deal as I just have to make sure the ball is clamped good and tight, but it's worth noting on account of the fact that I'm using a pretty stout tripod head setup (Really Right Stuff BH-40 with camera specific plates). I do not trust any universal or generic setup with this lens on the camera as it's heavy enough to work the camera loose. Most people are smart and responsible and take their camera off of their tripod before moving it, but this is a bit of a sticking point for me as I'm almost always working on a tripod and therefore prefer to leave the camera attached to it, even when moving around.

Gripe number three is also pretty minor: having to pull the focus ring back for manual focus. I frequently use autofocus to get my initial focus and then flip a switch for manual to make minor adjustments if a subject starts moving or something. Having to pull the focus ring to switch on this lens causes the exact autofocus spot to get lost in translation as it's too easy to spin the ring ever so slightly when pulling it. I know this is just me being lazy, but I've missed one or two good shot opportunities before because I was fumbling with the focus. I much prefer having physical switches to this sort of mechanism.

Outside of my one major and two minor gripes, the lens is excellent. The focus and zoom rings are smooth. The autofocus isn't the quietest or the fastest, but I'm not expecting perfection for this class of lens at this price point, plus it's fast enough to not cause any major issues. Build quality is better than expected. It's not the near bulletproof build of the Nikkor, but I expect it to take a bit of a beating. Overall I do recommend this lens for certain types of photography, but if you're going to be shooting into the sun or other direct light sources I would consider some alternatives, notably the 14-24mm f/2.8 and the 16-35mm f/4 even though they're both at a much higher price point and the latter is a full stop slower.

EDIT 2013-06-06:

I have since purchased the Nikon 16-35mm f/4. Since that purchase the Tokina has been removed from my primary kit as the Nikon is sharper, lighter, has a manual focus switch, has VR, takes 77mm filters, and is significantly less likely to exhibit lens flare. I still like the Tokina and I think it would make an excellent pairing with a 28-300mm for two lens full frame travel kit, but it honestly doesn't get much use other than serving as an additional reference point when I do lens comparisons on my blog. A friend of mine has actually been borrowing it for the past 2 or 3 months and I've not missed it. I'll keep it at the 4 star rating, because it's excellent for the price, but for real world use it honestly doesn't compare with the Nikon. In my opinion you should get this lens over one of the Nikon lenses only if money is a big issue.
8 of 8 people found the following review helpful
Tokina FX 16-28 F2.8 vs Nikon 14-24 2.8 vs Nikon 16-35 f4 5 May 2013
By Great walk around lens - Published on Amazon.com
Style Name: Nikon
I have owned Nikon 14-24mm f2.8 and also Nikon 16-35 f4 about a year now,not untill 4 months ago using this Tokina 16-28mm f2.8 FX, I let others dealing with technicals,let me tell you how good this Tokina is,I have tested both Nikon mention above intensively from wide open to the max of its focal-lenght.
Tokina 16-28 f2.8 FX is super sharp at lease 90% to 95% sharpness,contrast among other thing compare to Nikon 14-24 f2.8 from center,corner sharpness to vignette,pictures came out they all looks the same even the Pros, as far as front lens concern both shown bulbus,and you can not use filter,for which I expecting that but I don't worry about that they both shown reflection of lens flares, I set both on tripod at a same setting off angle againts the sun,so don't be fooled by Nikon Nano Coating,that Nikon claim to reduce glares.
On the other hands Nikon 16-35 f4 has too much distortions,at open wide not until 18mm I should say and cost almost double,at the end I sold both of my Nikon 14-24 f2.8 and 16-35 f4,I save over 2500.00 back in the bank, don't give wrong Nikon Lenses are quality and they have best optic you can buy today,only if you have money to burns

Don't take my words for it,you can rent Tokina 16-28 f4 FX and try it out and you will thanks me later,that what I did I rented and I can't believe my eyes,I bought it after I got back home,I paid my 750.00 wow, I'd paying too much for Nikon 14-24 f2.8 and Nikon 16-35 f4 VR.VR its nice to have but with this short Ultrawide Lens you realy don't need it all of mine shots are hand-held came out crystal clear.

Highly recommend for those looking for FX UW lens for way less money,and build quality(Solid as a Rock).
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Style Name: Nikon