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TOKINA AT-X 11-16mm F2.8 DXII Canon

£9.9£99Clearance
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For instance, the sample of Tokina lens I reviewed here has a shifted plane of best focus, so held upside-down its plane of best focus is actually ideal for landscapes, but held regularly, it's bad for landscapes. If you can't recognize these sample variations, attempting to compare one or two samples of each is quite a crap shoot. These focal lengths take in a very wide angle of view - and subjects must be close to not become a tiny spec in your frame. The front cap is fine, but not as nice as an original Nikon. I'd use a real 77mm Nikon cap and save the Tokina cap for resale. You can see the Tokina front cap here. The huge 14-24mm f/2.8 is for film and FX cameras. Used on a DX camera, the 14-24mm's zoom range is wasted. The 14-24mm f/2.8's zoom range starts about where the Tokina 11-16mm's zoom range ends!

Warning: as a non-camera-brand lens, there is never any guarantee that this Tokina lens will always work perfectly with every possible camera, especially with cameras you might buy many years from now. Neither Nikon nor Canon want any part of you using non-camera brand lenses on their cameras. This is the chance you take with off-brand lenses. a beach poison ivy patch as shown above is perhaps the most dangerous subject you want to shoot with an ultra-wide angle zoom lens. FTM (Full Time Manual) focusing is not available in the Tokina 11-16mm f/2.8 AT-X Pro DX Lens, but the focus ring does not turn while autofocusing.is only 45% longer than 11mm. Geometrically (logarithmically or percentage-wise), 11-16mm is only half the zoom range of a 12-24mm lens. For some people, the range from 16mm to 24mm may be significant. The Tokina 11-16mm f/2.8 AT-X Pro DX Lens delivers very good center sharpness wide open and shows slight improvement when stopped down. Ghosting control is below average for a super wide zoom of the twenty first century, so keep strong lighting out of the image

Leaving the honorable AT-X abbreviation, the letter "i" was newly added. The "i" stands for "interactive", implying mutual communication between photographer and the lens. Our belief is that this series will equip photographers with the ability to substantially engage with capture capture the atmosphere around them. I had mine for D7000. I’m sure it’s probably good if used right (maybe I didn’t know how to stop more for better frozen trees, as I mostly shot night landscape with slow shutter speeds of 30 or 20), and I think it did go to FF 14 focal length when used on a FX body. Means you can get same focal length as you can with the 14-24. I think the only downside was, I had to remove my UV filter (dust / lens protector) to reduce vignetting.. that’s how close to limits you’re when using it on FF mode in FX body. Having shot all these, there isn't any real competition for Nikon cameras. This 11-16mm is superior, even to Nikon's own lens, and this Tokina is one of the least expensive. Feel free to read the other 95% of this review, however the details below only are interesting to 5% of my readers. Avoid using a polarizer, because with lenses this wide you'll more likely get a dark band across your sky than a dark sky. This is because sky polarization differs as you look across the sky, and wide lenses see a huge swath of sky.

It's typical that as the years roll on that this lens may or may not work on newer cameras. We take for granted that ten or twenty years down the road that our Canon EF and Nikon DX lenses will just work with the nest cameras of 2025, but it is not uncommon for off-brand lenses to have compatibility problems with some models years in the future, and that there will be no fix for that. https://www.lenstip.com/379.8-Lens_review-Tokina_AT-X_116_PRO_DX_II_AF_11-16_mm_f_2.8_Vignetting.html The constant f/2.8 aperture is a great benefit if you plan on photographing in low light situations– for example – taking photos of thenight sky. Its weaknesses? All zooming and focus is internal to the barrel, so beating the outside of the lens won't directly impact any of the internal mechanisms.

This compact ultra wide-angle zoom has a bright constant f/2.8 aperture make viewing and auto focus possible in lower light situations but still maintaining a reasonable size and weight. The 11mm wide angle is great for shooting in tight spaces – ISO200, 1/160, f/4, 11mm (35mm equiv: 16.5mm)Pic. 20 The general close-up view by Tokina 11-16mm f/2.8 DX II. Cambridge Botanic Garden, United Kingdom. As far as sharpness is concerned, this lens performs best at 11mm at maximum aperture. At f/2.8 the sharpness in the centre of the image is already outstanding, and the clarity towards the edges of the frame is good. At 11mm stopping down reduces centre sharpness, but improves sharpness towards the edges gradually and the best quality from corner to corner is achieved at f/8.

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