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Tokina AT-X PRO 11-16mm F2.8 DXII Lens - Canon AF Mount
|Price:||£430.90 & FREE Delivery in the UK. Delivery Details|
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- Ultra-wide angle zoom lens
- Internal silent focusing motor
- Fast internal focusing
- One touch focus clutch mechanism
- Water resistant optical coating on the glass for ease of cleaning
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|Item Dimensions||10.2 x 10.2 x 10.2 cm||2.83 x 2.94 x 2.94 cm||8.7 x 8.7 x 9.4 cm||2.28 x 6.82 x 2.28 cm||8.7 x 8.8 x 8.7 cm||8.89 x 8.89 x 9.19 cm|
|Item Weight||0.55 kg||0.53 kg||0.5 kg||125 grams||0.52 kg||0.56 kg|
|Max Focal Length||16 mm||18 mm||14 mm||24 mm||20 mm||20|
|Min Focal Length||11 mm||10 mm||14 mm||24 mm||10 mm||11|
|Mounting Type||Canon EF / EF-S||Canon EF / EF-S||Canon EF / EF-S||Canon EF / EF-S||Canonbayonet||Canon|
Style Name: Canon
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Based on the high quality optical design of the AT-X 124 PRO DX (12-24 mm f/4) lens, the AT-X 116 PRO DX has a slightly shorter zoom range to maintain optical quality at wide apertures and has an internal silent focusing motor to allow the lens to AF on Nikon bodies that do not have an AF drive gear and motor.
One Touch Focus Clutch: Tokina's 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.
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 centre of the lens and light entering at the edge may not be perfectly focused at the same point. This is called spherical aberration. More enhanced computer assisted optical designs are creating lenses with more spherical elements. More spherical elements within a lens means a higher 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 centre 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, one of the world's largest optical glass manufacturer, Tokina has succeeded in producing high quality precision moulded glass elements with a bigger 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 moulded 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 colours 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 colours, akin to an "optical noise" that has a negative impact on the quality of the picture. To eliminate chromatic aberration, Tokina employs 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, minimising 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 enhanced a coating technique for its optics so that they will maintain faithful colour reproduction and render clean, sharp images.
Mechanical Technology - Floating Element System: When designing a lens, Tokina calibrated its astigmatism at the points between minimum focus distance and infinity so that it will give the better image results at each 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 centre 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 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 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.
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I can recommend this lens to take pictures of landscapes, buildings and starry sky. To make portraits or take pictures of animals or something like that, i would prefer the Sony 16-50.
I use a Sony Alpha 55 (APC-S) Camera.
Bought this in advance of a trip to Scotland and I knew I needed to make the most of the trip - and by that, I had to come back with good photos or risk regretting not buying a better lens.
I use a Canon 60D cropped censor camera, and I didn't want to invest too heavily or break the bank so I did as much research as I could before buying. The result and conclusion was to invest in the Tokina AT-X 11-16mm.
The first thing that will strike you is the weight of the lens. This is by no means a bad thing, at least for myself, as I didn't struggle at any point with regards to how heavy the unit is. The front glass is very wide (77mm), and very striking to look at. General looks wise - it looks brilliant. The plastic lens cover is even finish in a sort of 'bumpy' matte finish which looks very smart.
Build quality is good - and it certainly doesn't feel like something that would break easily - however the AF/MF ring is a bit cumbersome and clumsy, and sometimes gets wedged at the wrong angle when adjusting.
Image quality from the lens is superb and I really like the images I came away with. They central regions are very sharp and accurate, and you only lose a slight amount of picture quality off toward the very edges. This isn't an issue for myself as it's something that can be fixed in post-processing software and for landscape photography it really isn't something you'll notice.
I have attached images of my trip to Scotland to give you an idea of the sorts of things to expect from the lens. All were taken with the Tokina on a Canon 60D crop censor DSLR. Yes they're edited, but only colours and minor details - nothing drastic.
I am loving this lens a lot.
You will need to use an external flash with this lens to clear the shadowing of the permanent lens hood.
I was a little disappointed with the minimum focus distance of 0.35m as this lens could really be fun close up.
Build is something Tokina have a good reputation for at that's mirrored here metal casing with chunky rubber grips on the zoom and focus ring, metal mount as expected and a smooth zoom/focus action. This lens uses a "one touch" focus pull the ring back for manual focus or push it forward for normal AF; I find it works quite well though it might take some getting used to.
The main appeal of this lens is two fold firstly it's unusual to have an F2.8 lens for such a wider angle, this would be quite useless though if the lens were optically poor at such an aperture. Good news is that even at F2.8 from 11-16mm the images are very usable with excellent sharpness in "most" of the image area, there is some drop off of sharpness in the extreme corners and edges but not horribly so (not mushed out just softer) stopping down to around F4 improves things with F5.6 really stepping it up. In short for "printable" results (even at fairly large sizes) F2.8 is usable and you shouldn't hesitate to do so in dimmer conditions. For normal daylight stop down as usual though there is little to gain going below F8
Supplied petal hood fits on securely and is well made it can be reversed though this will block much of the focus ring area. This is a lens which does benefit from using it as there are a couple of weaker areas with the lens. Distortion is well controlled a simple mild curve which is easy to correct.
There are a few drawbacks firstly flare can be visible with the sun or bright light sources (lens produces decent sun starts at smaller apertures) other than using the hood or a hand to block stray light there isn't a lot you can do about it. I don't find it a big issue for most shooting conditions it has improved a bit since the Mk I version (new coatings) Second weakness is CA this can be visible at all apertures though more so at the faster ones it doesn't entirely clear up stopping down, this has a distinct "purple" line which tends to show up around higher contrast edges (not always but it's there in with strong highlights) This is relatively easy to remove in post processing even using the auto correction in PS/LR. Min focus isn't anything to rave about (1:11.6) less of an issue as it's for a crop body you can get to about a foot from a subject in the real world still close enough to provide some wild dramatic shots.
A few uses for this lens bar obvious landscape work (it's quite a hard lens to use for this type of shot as foreground is very important) Interior shots are ideal for this lens the faster aperture means you can if required use the lens hand held (tripod is better but you can work it at F2.8) you can get a lot of room into photos with the lens. Wedding another possibility with the faster lens speed available light shooting is realistic. An UWA lens is something of a specialty but also can be quite rewarding it can give a dramatic view that normal lenses can't and it's certainly one that deserves a place in the bag here you get lens speed and sharpness trading a shorter zoom range (it's only 5mm but it's a big difference between the two but at 16mm you are still wide). For owners of the Mk I version there isn't any obvious reason to upgrade to the II model they have the same optical formula just the motor is improved a little and the coatings.
For me the stronger points outweigh the weaker ones it's a must have lens for any crop body shooter
Its a hefty lens and some people don't like the sliding action for manual/auto focus.
I don't have a problem with it myself. My Tokina 100mm macro lens is the same.
I have re-taken some of the photo's I had previously taken with other lenses and I
can see a marked improvement. I am very pleased with this lens and like so many
other photographers I agonised over buying for ages. One of my better buys.
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