the difference can be seen in this simulator:
http://vmirefoto.blogspot.ca/2012/06/nikkor-lenses-simulator.html
it exists and is significant. but nevertheless, Nikon’s 10-24 (it seems to be also Tokin’s development) is not only more expensive but also worse in resolution. so it’s up to you to decide what’s more important - the extra 2mm at a wide angle or more high quality generally. the choice is not clear. IMHO.
DeleteBut this 10-24 Nikon from Tokina 12-24 is very much worse? Approximately how much? Let me explain the situation - carcass D3000
DeleteA lot depends on the specific lens. Structurally, Nikon does not provide a constant aperture ratio of 4 across the entire focal range.
in the laboratory, on a crop lens, they behave like this:
http://www.photozone.de/nikon--nikkor-aps-c-lens-tests/790-afs10243545dx
http://www.photozone.de/nikon--nikkor-aps-c-lens-tests/638-tokina1224dxii
those. approximately the same, except that Tokina has more CA and Nikon has more distortion (even at 24mm).
in practice, Tokina seemed noticeably sharper to me than Nikon.
IMHO, if you have Nikon and Tokina at the same price, then choose which one you like best based on the results of testing specific lenses in your store, Nikon will have better focal lengths, Tokina will have better aperture.
No. Tokina DX II has a built-in motor and works great on Nikon D5100 (for example).
Tokina DX version - for screwdriver
Version Tokina DX II - has its own motor. costs a little more.
in the test above - Tokina with a motor version DX II
Sorry to bother you, I haven’t considered the Tokina 11-16 before because it doesn’t have a built-in motor, but as it turns out, an updated version of the 11-16 with a motor has been available for quite some time. Maybe it will be more interesting in terms of image performance? - if you consider that it has a 2.8 aperture and noise reduction is already 11mm - then given the weak performance of the Nikon 3000 - a big plus
(by the way - if I have a carcass and all other Nikon lenses are also perfectly adjusted. Then with Tokina - as I understand it - this is Vanda Vasilevskaya, 7 - they adjust normally there and do they do this at all? Because I’m used to adjusting everything when I buy it to Families Khokhlovykh, 8 and this is a different manufacturer... I don’t know what to do)
Thank you very much for your answer and sorry to bother you
Tokina 11-16 2.8, according to Tokina herself, is made on the basis of Tokina 12-24/4. Their picture is almost identical, with all + and -. What was done:
- Tokina 12-24 is sharp by 12mm - increased by another 1mm
- Tokina 12-24 is moderately “soapy” at 24mm - cut to 16mm
- due to such changes, the aperture ratio was increased to 2.8
this is simplified.
in fact, Tokina 11-16 by 2.8 is “soapy” throughout the entire focal range - about 30-33 lpmm in the center and 20-25 lpmm at the edges, i.e. approximately as much as it will be if you close the aperture to 16.
working aperture - from 4.
Focal 11-16 is more of a fix, 12-24 is much more convenient - IMHO.
Therefore, the choice of Tokina 11-16 is ambiguous. I tried both, but Tokina 12-24 seemed to me much more convenient in terms of focal lengths. At 2.8 Tokina 11-16 specifically lathered, it didn’t suit me.
about service centers I won’t give you any advice and I don’t have any information.
DeleteIt’s more likely that you just didn’t have it adjusted... I just really need 2.8 - in cloudy weather when photographing (my girlfriend against the backdrop of nature, for example)... and 11 mm seems to me to be a little more noticeable in terms of noise than 12
Deletethen it's not just me. in the Lenstip test they got the same soap at 2.8 as I did. I think the problem is not with the alignment, but with the lens itself - see MTF from Tokina... to get really working 2.8 you need something like Nikon 14-24 2.8. :) That's right - from 2.8 everything is beautiful and sharp. but the price is 1700 dollars.
on crop when I shoot with Tokina, focal lengths 14-24 are most in demand.
at 12mm the distortion is wild, editing in post-processing does not always help and is never painless for the photo.
but this is in my case. if it is important for you to have 11mm, then it makes sense to buy 11-16. IMHO.
Connoisseurs of the Japanese brand were probably looking forward to another remarkable lens in our test - the Tokina AT-X 12-28 mm PRO F4 DX.
This honored model experienced its third birth in 2013, nine years after the release of the first version. The developers have expanded the range focal lengths up to 28 mm, making this super-sized machine essentially unique in its kind. Currently, no ultra-wide-angle lens can boast such a large zoom range, and even compatibility with full-frame cameras. No, I was not mistaken. The Tokina AT-X 12-28 mm PRO F4 DX performs really well at full frame in the range from about 18 to 28 mm. For example, the same Canon EF-S 10-22 mm not only has a smaller range and variable aperture f/3.5-f/4.5, but it also cannot be mounted on a full frame.
Let's take a closer look at the hero of our today's test and evaluate him in his work.
In terms of optical design, the lens uses 14 elements in 12 groups, including two aspherical lenses and two low-dispersion glass. The focusing mechanism is internal, like most Tokina lenses. Looking ahead a little (after all, the test is still in full swing!), I want to say with confidence that absolutely all Tokina lenses are wonderfully designed. The Tokina AT-X 12-28 mm PRO F4 DX is no exception - the same high-quality build, durable plastic case, metal bayonet, smooth operation of rubberized zoom and focus rings, the already familiar One Touch focusing mode control mechanism.
The set also includes a four-blade plastic lens hood - a useful accessory for every photographer. The weight of the lens is optimal: 530 grams will allow you to confidently hold it in your hand without feeling overweight or too light.
Canon EOS 40D SETTINGS: ISO 100, F8, 2 sec
Canon EOS 40D SETTINGS: ISO 800, F4, 1/13 sec
Well, let's now check this lens in action. Today I started shooting with night photo sketches of the pre-Christmas All-Russian Exhibition Center. A tripod and a wide angle are the favorite tools of the night cityscape hunter. Immediately one notices the reliable operation of autofocus; literally in a split second the lens focuses on the object we need, even in conditions insufficient lighting. In addition, it does this relatively silently, thanks to the use of Tokina's own ultrasonic quiet motor with a GMR (giant magneto-resistance sensor) sensor, which allows increasing autofocus speed. Another nice feature of the Tokina AT-X 12-28 mm PRO F4 DX is its short focusing distance, only 25 centimeters. Among its competitors, only the Tamron SP AF10-24mm F/3.5-4.5 Di II can boast a lower figure; it focuses a centimeter closer.
Canon EOS 40D SETTINGS: ISO 100, F22, 4 sec
Canon EOS 40D SETTINGS: ISO 100, F5, 15 sec
A nine-blade aperture will allow lovers of night landscapes to get spectacular “stars” in the frame from flashlights or glare at a strong aperture. The focal lengths of the lens will appeal to all fans of wide-angle lenses - 12 millimeters is enough to capture a huge amount of space in the frame, even on a camera with a cropped matrix.
The color rendition of the Tokina AT-X 12-28 mm PRO F4 DX is excellent - we specifically use photographs “straight from the camera” in our reviews, without the additional intervention of graphic editors. It’s nice when the lens, already in the digital “negative”, gives clear and rich color and high contrast.
But sometimes you want more! Then I install a polarizing filter on the lens. This lens uses 77mm filters. But even with such a large diameter, you have to choose filter models with the thinnest frame to avoid vignetting. I used Hoya Circular-PL HD: it does not produce vignetting, does not spoil the sharpness of the image and, most importantly, does not catch glare.
By the way, the entire part of the test on the street was shot on a full-frame camera, and only later the pictures were cropped in accordance with the x1.5 crop factor so that you could see how the lens works with the “cropped” matrix. But if you wish, you can download RAW and make sure that starting from a focal length of about 20 mm, the Tokina AT-X 12-28 mm PRO F4 DX covers a 24x36 mm matrix without any problems.
Considering test shots, and something desperately asks to be framed. Well, of course - vignetting! As you know, this is one of the most important features of ultra-wides, which can be classified as undesirable, even despite the ease of getting rid of vignettes in graphic editors. It’s no wonder that Tokina engineers are famous for producing the highest class optics: in the Tokina AT-X 12-28 mm PRO F4 DX, even at the widest zoom position at the widest aperture, vignetting is practically not noticeable!
Shopping centers in Moscow are traditionally beautifully decorated for the New Year and Christmas, so shooting there is a delight for the eyes and a great test for a wide-angle lens. The already veteran EOS 40D is difficult to boast of when shooting in dark rooms; at f/4 I was able to get a fast enough shutter speed for handheld shooting, raising the ISO to just 1000. With darker lenses this trick would no longer work.
Canon EOS 40D SETTINGS: ISO 800, F4, 1/60 sec
Canon EOS 40D SETTINGS: ISO 800, F4, 1/30 sec
I begin to examine the picture for the quality of the lens in backlight. When the aperture is open, there are slight chromatic aberrations. On the other hand, most wide-angle lenses suffer from open “holes,” so we won’t criticize the new product from Tokina for this, especially since the situation improves noticeably when the aperture is closed.
Canon EOS 40D SETTINGS: ISO 1250, F4, 1/40 sec
Probably the main question that worries every potential lens buyer is how is it doing with sharpness? I agree, the question is relevant. I check the sharpness of the lens at the long and short ends of the zoom, photographing the Rostokinsky aqueduct that I already love. At 12mm I really like the sharpness in the center of the frame, but the edges are a little washed out. I close the aperture to f/8, after which the situation changes to better side- the picture is sharp throughout the entire field. 28mm photos look much better at f/4, and at f/8 and f/11 you're guaranteed to get the sharpest photos possible with this lens.
Speaking about sharpness in general, I will say that the Tokina AT-X 12-28 mm PRO F4 DX was a pleasant discovery for me, showing excellent results at a price much lower than its competitors.
The new AT-X 12-28 mm PRO F4 DX has become not just another successful example in the Tokina line, but a real diamond - you can rightfully be proud of this lens. A large range of focal lengths for an ultra-wide lens, a proprietary robust design, excellent sharpness, high-quality color rendition, and a low level of vignetting - these are the main advantages of this certainly interesting model. The f/4 aperture can hardly be considered “dark” anymore, since working number ISO in modern cameras is constantly increasing. The price of the lens is one of the last arguments that often separates us from saying the cherished word “I’ll take it!” She is more than democratic! Therefore, the Tokina AT-X 12-28 mm PRO F4 DX is strictly recommended for all photographers looking for a high-quality ultra-wide-angle crop lens for reasonable money.
For a long time I shot with a DSLR (first a Canon 350D, now a Canon 7D) with a 17-85 IS USM lens. This lens practically suited me in terms of focal length range. But the wide angle was a little lacking.
I've been looking at wide-angle lenses for a long time. And most importantly, at the first stage, perhaps the question was not which brand of lens to prefer, but whether I needed a wide-angle at all. Initially, I assumed that I would occasionally shoot landscapes with it, and therefore I would not use it often.
Then the choice arose about which lens to buy. There were two candidates: Canon EF-S 10-22 mm f/3.5-4.5 USM and Tokina AF 12-24 mm f/4 AT-X 124 PRO DX II. I read forums and asked friends. As a result, I settled on Tokin - many wrote that its picture quality is better than Canon’s, and the price is lower. I didn’t compare the pictures in detail; Tokina was more to my liking.
One of the main disadvantages of the crop factor, characteristic of most digital SLRs, is the widening of the lens’s angle of view. The fifty-kopeck lens turns out to be closer to the portrait lens, the universal 28-200 offers a short end at 42, which is inconvenient - even point-and-shoot cameras start their ranges at about 35, and the wide-angle 17-35 turns into a semi-standard 25-52 with a range insufficient for convenient work.
Almost all manufacturers of photographic optics have recently begun producing lenses for digital cameras, taking into account the crop factor. This is not very convenient for an inexperienced buyer, who may not know that a different letter in the name of the lens indicates that it cannot be used on film equipment. But digital SLR users will be able to fully enjoy the convenient zoom range and the delights of a wide angle. These lenses are also somewhat cheaper than their full-frame counterparts, since they have a smaller lens diameter, despite the fact that DX lenses are traditionally assembled in the same bodies.
Japanese corporation Tokina, the third most popular independent manufacturer of photographic lenses after Sigma and Tamron, has released the Tokina ATX 124 DX 12-24mm f/4 AF PRO lens. This is Tokina's first full-frame lens. Zoom per full frame– 1836. Apparently, this range was chosen based on its proximity to the popular and long-proven interval 1735. The lens is intended only for digital cameras Nikon D100, D70, D70s, D50, D80, D200, and also prof. models of the company with support for DX lenses. Interestingly, according to rumors, the lens turned out to be no worse than its Nikon twin, which is twice as expensive, and according to some reviews, even better. The minimum focusing distance is 30 cm, which is nice, as it allows you to take dramatic shots that go into the distance.
Filter thread 77 mm.
We successfully got it for testing shortly after its appearance on the world market, and we successfully combined test shooting with this lens with a test drive of a Hummer car.
First of all, despite the fact that the lens is not positioned as Hi-End, it feels quite “adult”. It fits well in the hand, focuses quickly and silently, and the zoom is soft, like its more solid counterparts.
Of course, there are distortions. But they are noticeable only at the short end (the “barrel” characteristic of wide-angles appears); at the long end, the geometry is almost perfect.
It is known that many lenses, mainly those containing high refractive index lenses that are often used in wide-angle zooms, can distort colors. Let's say Sigma 1735 is frankly “yellow”. This lens produced pure and correct colors that did not raise any complaints about the glass.
The wide angle when applied to a digital SLR turned out to be very useful - the crop factor in combination with the wide angle gave an amazing depth of field, so that both the foreground and background were equally well worked out even in risky shots.
Another advantage that we, however, did not take advantage of is that the lens is small enough in size, so the flash could be used at any zoom and at any distance; it does not block the field of view at the minimum focusing distance.
At a 12mm zoom with a fully open aperture, the corners are slightly (very slightly) blurred, but already at 5.6 it’s almost unnoticeable, and at 8 the picture shines with purity and sharpness.
There is virtually no vignetting even at the short end. We managed to detect it on 12mm, but only with the help of special tricks on the computer.
Glare from the sun, of course, occurs when shooting against the light, but not strong. A lens hood helps, but since it's a wide angle, a sleeve or a hat will help more.
Bottom line: an excellent lens, devoid of many of the shortcomings typical of its kind; we happily and with satisfaction recommend it to a wide range of happy owners of digital SLRs.
The only thing that upset me after the purchase was that the Canon Photo Digital Professional equal-converter did not have this lens in its database and, accordingly, it was impossible to automatically correct distortion and chromatic aberrations. This was the reason why I switched to photo editing in Lightroom.
I first tried it during a winter trip along the route — — — —. Having attached the lens to the camera, I never changed it, I liked how it worked so much. Then I fully appreciated it during a trip to. And finally, during a visit to the Tropinin Museum and a walk around Zamoskvorechye.
Of course, I had to get used to the wide-angle and constantly keep in mind the distortions that it inevitably introduces into the frame. I think that when shooting with it, processing the photo in a graphics editor becomes almost mandatory in order to remove distortion, HA and correct the perspective. But many opportunities appeared that I didn’t even suspect about.
The wide-angle lens turned out to be indispensable in city photography. If before I often could not photograph the entire building, and it was not possible to move further away, then with the help of a wide-angle this problem was completely solved.
You can compare two frames taken from almost the same point (there is a difference, but small). In the first case, I shot with a 17-85 mm lens. The huge temple of St. Nicholas the Wonderworker in Rogachev completely did not fit into the frame.
In the second case, I had a wide-angle lens with me. Moreover, I still have some reserve left to correct the perspective during processing and straighten the verticals, which inevitably collapse from this angle.
Or a photograph of the Nikolo-Peshnoshsky Monastery. We managed to fit almost the entire section of the wall into the frame. This would not be possible with a standard lens.
I was also pleased with the lens on narrow city streets. Below are photos taken at 12mm:
Standing on the sidewalk, I was able to photograph the house nearby, on the same side of the street.
House on Theater Square, Kimry
Door in the City Archives building, Kimry
Wooden house on Kirova street, Kimry
Church of the Assumption of the Virgin Mary in Cossack Slobodka, Moscow
Residential complex "Diplomat", Moscow
Church of the Great Martyr Catherine on Vspolye, Moscow
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Rosatom building, Moscow
Infirmary with the Church of Martha and Mary, Martha and Mary Convent, Moscow
Houses on Bolshaya Ordynka, Moscow
Olgovo Estate, Horse Yard
If you wanted to zoom in on something to show some architectural details, there was also a way out: shoot at 24 mm, and then, if necessary, cut out a piece of the frame (of course, then the maximum resolution should be set):
Doors of a wooden house on the street. Kirov, Kimry
Canopy over the entrance to a house on Bolshaya Ordynka, Moscow
Detail of a house on Bolshaya Ordynka, Moscow
And all sorts of verticals turn out to be very interesting: they seem even higher and seem to go into the sky:
Monument to Lenin and outport of the Moscow Canal, Dubna
Bell tower of the Church of the Dormition of the Virgin Mary in Cossack Slobodka, Moscow
And, of course, the classics of the genre - landscapes:
Outport of the Moscow Canal, Dubna
True, the weather is not particularly conducive to photographing them yet.
I didn't even expect to use a wide-angle lens so often. By the way, it’s also great for shooting in museums, but I’ll talk about that later. Therefore, I think that a wide-angle should definitely be in a travel photographer’s bag.
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PS. Of course, we talked about wide-angle in relation to cameras with a crop matrix.
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