Tokina 12-28mm F/40 at-x Pro Aps-c Lens for Canon Review

Tokina 12-28mm f/4.0 AT-Ten Pro DX Lens Review

As of Tokina 12-28mm f/4.0 AT-Ten Pro DX Lens review time, Tokina offers 4 ultra-wide angle zoom lenses (plus a fisheye zoom). 2 of the four rectilinear lenses, including the 12-28, are DX models designed to fit APS-C (but) DSLR cameras and two are FX models designed for all DSLRs including full frame sensor format models. In each of those model lines, ane ultra-wide zoom has a more-limited focal length range, a wider widest focal length and a wide max f/2.8 aperture over the entire focal length range, while the other model has a more-generous focal length range and a lower price, but a one-finish narrower/slower f/iv max aperture. As you have likely accept already identified, the 12-28 is the latter model in the DX lineup.

Put the two DX lenses side-by-side (above) and yous are going to have to read the characterization to know which lens is which. They are practically identical in outside design.

Focal Length / Focal Length Range

While 12mm is the longest focal length found at the wide terminate of lenses in this class, the 28mm focal length establish at the long end of this lens' range is the all-time-bachelor/longest by 4mm. My choice for this lens would be for a shift toward wider angles every bit most APS-C general purpose lenses have the 18mm and beyond range fairly covered, merely 12mm is yet very wide and 28mm is overnice to be able to used without a lens alter. That this lens has focal lengths shifted toward the longer range makes it a ameliorate choice for full general purpose use than the other ultra-wide zooms.

The 12-28mm focal length range used on an ASP-C/1.6x FOVCF sensor format DSLR results in 19.2-44.8mm full frame angle of view equivalent. Here is an example of what this focal length range looks like.

The normal ultra-wide bending subjects are the ideal targets for this lens. These include landscapes and confined space images of practically anything. Ultra-wide angle lenses are very fun to use and, with skillful composition, these lenses tin deliver remarkable images.

Aperture

Equally briefly discussed at the beginning of this review, this lens has a max aperture of f/4 over the entire focal length range. While f/four is but a moderately wide discontinuity, it is acceptable for many ultra-broad bending uses and I really appreciate having a non-variable max aperture. This design allows a wide open exposure setting to remain consistent over the focal length range. And when compared to the other lenses in this course, an f/four max aperture looks rather nice. Hither is a chart showing the maximum aperture available at the specified starting focal lengths for each lens:

Model	f/2.viii	f/3.2	f/3.5	f/4.0	f/4.5	f/5.0	f/5.6
Catechism EF-S ten-22mm f/iii.five-4.v USM Lens			10mm	13mm	18mm
Sigma viii-16mm f/4.5-v.vi DC HSM Lens					8mm	8mm	13mm
Sigma ten-20mm f/3.5 EX DC HSM Lens			10mm
Sigma ten-20mm f/4-v.6 EX DC HSM Lens				10mm	11mm	12mm	16mm
Tamron x-24mm f/3.5-iv.v DI II Lens			10mm	14mm	21mm
Tokina 11-16mm f/2.8 AT-X Pro DX II Lens	11mm
Tokina 11-16mm f/2.8 AT-X Pro DX Lens	11mm
Tokina 12-28mm f/4.0 AT-10 Pro DX Lens				12mm

Go on in listen that built-in flash coverage on most DSLRs will not cover the lower range of this lens' bending of view, so plan on an culling method of flash lighting/diffusion if planning to utilize flash with this lens. An accessory flash, potentially with a diffuser, volition handle this chore nicely.

Image Quality

The Tokina 12-28mm f/4.0 AT-Ten Pro DX Lens has proficient epitome sharpness across the frame at 12mm and shows fiddling improvement when stopped down. Image sharpness slowly degrades across the unabridged frame with focal length increase until 28mm where this tendency levels off or very slightly reverses itself. From 20mm through 28mm, a noticeable comeback in sharpness can be seen past stopping downwards to f/5.6. Stopping downward to f/8 results in negligible sharpness comeback. Even stopped down, this lens delivers only boilerplate epitome quality, though not remarkably dissimilar than near of the other lenses in this class. Notably sharper is the Tokina 11-xvi Two at 12mm with equivalent apertures, though these two lenses perform more than similarly past 16mm.

Showing a moderate amount of CA (Chromatic Aberration) in the mid and peripheral paradigm circle at all focal lengths, the Tokina 12-28mm volition add some color to your images. Uncorrected, the CA will detract from paradigm sharpness.

While non completely baloney-free, the Tokina 12-28mm lens performs particularly well relative to similar lenses in this regard. Minor pincushion distortion is present at 12mm, but distortion is negligible throughout the 16-28mm focal lengths. This functioning will prove beneficial for images with directly lines near the frame borders, where distortion is most hands noticed.

At 12mm, the Tokina 12-18 shows a modest i.5 stops of vignetting in the corners with a wide open f/4 aperture. Vignetting diminishes to about a barely-noticeable-in-real-life 1 stop in 28mm f/iv corners. Narrow the aperture by one stop (to f/5.6) and peripheral shading decreases by approximately i/2. Only slight shading reduction is realized by stopping downwards to f/8 vs. f/5.6. Shading added by a normal thickness UV filter is negligible at 12mm, though a normal thickness circular polarizer filter adds just slightly more vignetting. I recommend using a slim CPOL filter version on this lens, but note that a CPOL filter used at ultra-broad angles tin create a strong gradient/unevenness, peculiarly in the heaven with a low sun equally shown in the 12mm instance below.

While the Tokina 12-28 shows but a small-scale amount of flare over about of its focal length range, it shows a strong corporeality of flare at 12mm.

The 12-28 has a ix-blade aperture, but don't await for this lens to create a significant amount of background mistiness in most images – even with a wide open aperture. Here is a max-blur instance created using the longest focal length (28mm), the widest aperture (f/4) and a very afar background.

I can still brand out the shape of the trees on the hillside nearly a mile away.

Focusing

Tokina claims that the 12-28mm f/4 Lens has a new AF arrangement:

"The new AF 'GMR magnetic precision' command sensor is capable of fast auto-focus. Tokina placed the new sensor closer to the drive unit in the lens for faster communication between the controller and AF motor. This combined with the motor'due south high-precision focus control yields faster, more accurate auto-focus. Additionally, a brand new "SD-One thousand" (Silent Drive-Module) has greatly lowered the sounds emitted by the auto focus bulldoze system allowing for much quieter AF. Both Catechism and Nikon mounts have a built-in AF motor to make them machine-focus compatible with all current camera bodies." [Tokina]

While I'm not ready to call the new technology footing-breaking, I practice see some AF improvements in the Tokina 12-28mm f/4.0 AT-X Pro DX Lens' AF system including a reasonable speed and lower noise during long focus altitude changes (compared to the 11-16 Ii).

Delivering a relatively wide depth of field, the Tokina 12-28 is not the most AF accuracy-challenging lens available. Unfortunately, my review lens (a retail version) does not focus accurately as consistently as I would like at the 12mm end and backfocusing is the normal outcome I'm seeing at all focal lengths. This lens, like the Tokina xi-16 II that I evaluated at the same time, needs to be sent to service for recalibration – or used on a DSLR with the AFMA feature.

This is an internally-focusing lens. FTM (Full Time Manual) focusing is not bachelor in the Tokina 12-28mm f/4.0 AT-X Pro DX Lens, but the focus ring does not turn during autofocusing.

Unique to Tokina is the "Ane-touch Focus Clutch Mechanism". The Tokina 12-28 utilizes a push/pull focus band clutch to shift into and out of manual focusing fashion (there are no other switches on this lens). As I've said before, Tokina's MF clutch system is non my favorite design.

When pulling rearward on the focus band to engage MF manner, the gear teeth must be aligned. When the gears do not mesh perfectly, the focus ring is inadvertently rotated a small corporeality with the shift process. If you autofocus and then switch to MF mode, the autofocus-set focus distance may non be precisely maintained. The ring shifting likewise results in a loud "snap" if y'all are non carefully fugitive this. Your wedding guests are going to hear the noise during the ceremony unless yous exhibit this care.

The transmission focus ring is very smooth with no play and it has a relatively wide range of adjustment for an ultra-wide bending lens. Round polarizer filter users volition appreciate that the front filter threads on this lens do not rotate during focusing. Video shooters will also appreciate the lack of focus animate – subject area size and framing does not alter with focus adjustment. This lens is very, very close to beingness parfocal (focus distance adjustment is non required after zooming) and this ways that you tin zoom during video recording without having to adjust focus at the same time.

The Tokina eleven-xvi f/ii.8 2 lens I simply reviewed has one of the lowest MM (Maximum Magnification) specs available, merely the Tokina 12-28mm f/4 Lens has a best-in-class (a 3-way tie) spec of 0.20x. Having the longest focal length in the grade is a major contributing factor this bonny number.

Model	MFD		MM
Canon EF-S 10-18mm f/iv.5-5.6 IS STM Lens	8.7"	(220mm)	0.15x
Canon EF-S ten-22mm f/3.5-4.v USM Lens	9.four"	(240mm)	0.17x
Nikon 10-24mm f/3.v-four.5G AF-S DX Lens	9.5"	(241mm)	0.20x
Nikon 12-24mm f/4G AF-Southward DX Lens	12.0"	(305mm)	0.12x
Sigma 8-16mm f/four.v-5.six DC HSM Lens	9.four"	(239mm)	0.13x
Sigma x-20mm f/three.five EX DC HSM Lens	9.iv"	(240mm)	0.15x
Sigma ten-20mm f/iv-five.6 EX DC HSM Lens	9.4"	(240mm)	0.15x
Tamron 10-24mm f/three.v-4.five Di Ii Lens	9.4"	(240mm)	0.20x
Tokina eleven-16mm f/2.eight AT-X Pro DX Two Lens	xi.8"	(300mm)	0.09x
Tokina 11-16mm f/2.eight AT-X Pro DX Lens	11.8"	(300mm)	0.09x
Tokina 12-28mm f/4.0 AT-X Pro DX Lens	9.8"	(250mm)	0.20x

A 0.20x MM is going to allow reasonably tight framing of larger flowers and in that location are many products that can exist tightly framed at this reproduction ratio.

Build Quality & Features

The 12-28 looks exactly like the 11-xvi II, and they share identical build qualities too.

The plastic-constructed Tokina lens barrel terminate is dainty and the lens feels solid with much of the lens surface being safe-coated band.

As I said before, at that place are no normal "switches" on the Tokina 12-28mm f/4.0 AT-Ten Pro DX Lens, just you can see the focus ring shift forward/rearward as you mouseover the labels above. Also notice that the front lens element extends and retracts slightly with the fully retracted focal length being in the 16-18mm range.

The fairly-sized, well-positioned and strongly ribbed zoom ring on this lens is very smooth, has a overnice amount of rotation with no play and is modestly-tightly damped. Standard for Tokina zoom lenses is that the zoom ring rotates in the same direction every bit Nikon lenses, opposite the management of the Canon standard.

The zoom and focus rings are raised from the lens barrel and have different, but pregnant ribs in their rubber grips.

Tokina does not talk nigh conditions sealing in the press release for this lens, merely with a lens mount gasket provided, at least some level of protection is evidently provided. This gasket is similar to the i institute on the eleven-16 Ii, and for that lens, Tokina says "Please note, the Tokina AT-X 116 PRO DX lens itself is non waterproof or water resistant". My advice? Keep this lens dry out.

The size and weight differences between this lens and its eleven-16mm sibling are negligible. Both lenses are amidst the heaviest in their class, but neither lens is burdensome to carry or store.

Model	Weight		Dimensions west/o Hood		Filter	Year
Canon EF-Due south ten-18mm f/4.5-v.6 IS STM Lens	eight.5 oz	(240g)	2.9 x ii.8"	(74.6 10 72mm)	67mm	2014
Canon EF-S 10-22mm f/3.five-four.v USM Lens	13.half-dozen oz	(385g)	3.3 x 3.5"	(84 ten 90mm)	77mm	2004
Nikon 10-24mm f/3.5-4.5G AF-S DX Lens	xvi.2 oz	(460g)	iii.2 x 3.4"	(82.5 x 87mm)	77mm	2009
Nikon 12-24mm f/4G AF-Southward DX Lens	16.four oz	(465g)	3.ii ten 3.5"	(82.5 x 90mm)	77mm	2003
Sigma 8-16mm f/4.5-5.half dozen DC HSM Lens	19.6 oz	(555g)	3 x 4.ii"	(75 ten 105.7mm)		2010
Sigma 10-20mm f/three.5 EX DC HSM Lens	xviii.four oz	(520g)	iii.iv x 3.5"	(87.3 x 88.2mm)	82mm	2010
Sigma 10-20mm f/iv-5.6 EX DC HSM Lens	sixteen.half-dozen oz	(470g)	iii.three x 3.two"	(83.iii x 81mm)	77mm	2008
Tamron 10-24mm f/3.v-four.5 Di II Lens	fourteen.3 oz	(406g)	3.three x 3.4"	(83.two x 86.5mm)	77mm	2010
Tokina 11-16mm f/2.8 AT-10 Pro DX Ii Lens	xix.4 oz	(550g)	3.3 x 3.5"	(84 ten 89.2mm)	77mm	2012
Tokina 11-16mm f/two.8 AT-X Pro DX Lens	xix.8 oz	(560g)	3.three x 3.5"	(84 x 89.2mm)	77mm
Tokina 12-28mm f/iv.0 AT-10 Pro DX Lens	xviii.7 oz	(530g)	3.3 10 iii.6"	(84 x xc.2mm)	77mm	2013

For many more than comparisons, review the complete Tokina 12-28mm f/iv.0 AT-X Pro DX Lens Specifications using the site'south Lens Spec tool.

The 12-28mm lens' 77mm filter size (once more, same every bit the 11-16 II) is a very common i. These filters are non small or cheap, but it is convenient to exist able to share some filters among lenses from various manufacturers.

The BH-77B lens hood comes standard in the Tokina 12-28 box. This is the same hood included with the Tokina 11-16mm II. Tokina does not include a lens case in the box.

Let's take a look at an ultra-wide angle lens grade flick:

The following lenses are shown from left to correct in the higher up and beneath lineup:

Sigma ten-20mm f/four-5.6 EX DC HSM Lens
Tamron 10-24mm f/iii.5-four.five Di 2 Lens
Nikon 12-24mm f/4G AF-S DX Lens
Catechism EF-Southward 10-22mm f/iii.5-4.5 USM Lens
Tokina 11-16mm f/ii.viii AT-X Pro DX II Lens
Tokina 12-28mm f/four.0 AT-X Pro DX Lens
Sigma 10-20mm f/iii.5 EX DC HSM Lens

The lenses are shown modest in these comparisons, simply the fact that all are similar sized can be helpful to know for option purposes, though the similar size of the lenses may complicate your option process. Utilise the product image comparison tool to brand college resolution comparisons of any combination of these lenses.

Price

Sure to exist one of anybody'southward favorite Tokina 12-28mm f/four.0 AT-10 Pro DX Lens features is the price. This lens is priced at or most the bottom of its class. The ratio of the value this lens adds to a kit relative to the price tag is quite high.

The Tokina 12-28mm f/4.0 AT-X Pro DX Lens is bachelor in Canon (reviewed) and Nikon mounts. My standard disclaimer: At that place are potential issues with 3rd party lenses. Since Tokina contrary engineers (vs. licenses) manufacturer AF algorithms, at that place is always the possibility that a DSLR body might not back up a (likely older) tertiary party lens. Sometimes a lens can be fabricated compatible past the manufacturer, sometimes not. There is also the risk of a problem that results in the lens and body manufacturers directing arraign at each other. Tokina USA's 3-twelvemonth warranty is superior to Canon'southward standard 1 twelvemonth warranty (Sigma's international warranty is as well i twelvemonth).

The lens used for this review was a retail version ordered online.

Summary

Selecting one of the APS-C ultra-broad angle lenses is i of the about challenging decisions of any lens class. There are lots of options with no major standouts. Every bit just mentioned, price is perhaps this lens' biggest attraction. The Tokina 12-28mm f/4.0 AT-X Pro DX Lens gives you lot reasonable performance at a reasonable price.

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Source: https://www.the-digital-picture.com/Reviews/Tokina-12-28mm-f-4.0-AT-X-Pro-DX-Lens.aspx