tokina 16 28 nikon

Overall Length: 15.8 milliliters. Weight: 5.13 pounds. Compatible With: Nikon F-Mount. Focal Length: 16-28mm. Product Diameter: 86 millimeter. Warranty: 3 Year Limited Warranty. To obtain a copy of the manufacturer's or supplier's warranty for this item prior to purchasing the item, please call Target Guest Services at 1-800-591-3869. Lazada. Tokina LPG Regulator Gold Series. ₱ 562.00. Lazada. Tokina 1 x 20W Recessed Troffer 1 x 18 Recessed Lighting Fixture 1x 20W Louver Reflectorize Fluorescent Housing 1x20W Louver with Aluminum Reflector Flush Type 1x18W Louver w/ Aluminum Reflector Flush Type 6 x 24 inches or 18 x 60cm180 x 600 mm. ₱ 680.00. Tokina,FF,16,28,16-28,2.8,Reflex,Obiettivo,Nikon,Grandangolo,Savona,Liguria. Recensioni Ancora non ci sono recensioni. Solamente clienti che hanno effettuato l'accesso ed hanno acquistato questo prodotto possono lasciare una recensione. Tokina Opera 16-28 F/2,8 FF Nikon Vay Tiền Cấp Tốc Online Cmnd. Tokina Opera 16-28mm f/ Review This Tokina Opera 16-28mm f/ $699 at Adorama, B&H and Amazon lens review is by Christophe Anagnostopoulos, Global Ambassador of Tokina & Hoya, Website Vimeo Facebook IMDB *Please note that at the time of writing this review, Adobe hasn’t released a lens profile for Tokina Opera 16-28mm F/ It is early March and along with the arrival of spring, the Milky Way season for 2019 just started and the timing couldn’t be better for the release of the new Tokina Opera 16-28mm lens, an ultra wide-angle Full Frame lens with a constant F/ aperture over its entire focal length range. Tokina had always a superb reputation among photographers not only for the exceptional build quality of its products but also for the magnificent wide angle lenses it produced, and the new Tokina Opera 16-28mm F/ is continuing this tradition with its excellent performance and quality. The new Tokina Opera 16-28mm F/ is the second lens in the premium Opera series lineup for high-end DSLR users, following the first Opera 50mm F/ lens which was released a few months ago, and this wide angle lens is coming at a very competitive price for Nikon F and Canon EF mounts. Build Quality & Exterior Design The lens is made in Japan and it’s built with the highest quality standards and materials. The new beautiful and modern looking matte black design, first introduced with Opera 50mm F/ lens, provides partial weather sealing to protect the inside quality glass from moisture. As expected from a high-quality lens, the mount is made of metal and it also has a rubber ring to prevent dust penetration. For landscape photographers, dust penetration into elements can result in image quality loss so it is important to stay clean when for example the photographer change lenses. The rear element of Tokina Opera 16-28mm is moving in and out when it is zoomed, but the design doesn’t leave any gap in the rear for the dust to enter the lens optics. The zoom ring is located near the base of the lens while the focus ring is near the front. Both rings have a very smooth feeling in operation. Tokina in the Opera series has matched the rotation direction of the focus ring according to the Nikon/Canon’s original ones to avoid confusion to the photographer. The package includes a big lens cap, which protects the front element from scratches, and it attaches firmly onto the lens with two 2 clips on both sides, so you don’t have to worry if it drops accidentally. In overall the lens gives you a solid feeling, that it can handle weather conditions with ease, while having a very premium appearance at the same time. Lens Handling & Usage The physical length of the lens remains constant although the inner lens tube moves a little, and to be more specific, at 16mm the front element is fully forward while at 28mm is retracted. The front element does not rotate, as the lens features an internal focusing mechanism, and it is protected well by the built-in petal shaped lens hood. The wide coverage of 16-28mm makes this lens a perfect choice to be used on full-frame FX cameras, although it also provides a pretty good coverage on cropped sensors cameras DX as well, with an equivalent field of view of approximately 24-42mm. However, due to its size and weight, the lens, in my opinion, is better balancing on pro DSLR bodies comparing on using this lens on smaller cameras which might not be very practical due to its dimensions and front-weight design. The wide focal coverage on FX along with the constant F/ bright aperture makes this lens very versatile and a great choice as it can be used on various photography genres very easily, such as astrophotography/timelapse, landscape, architectural and travel photography. Autofocus The lens features a new SD silent drive AF Module and is coupled with an also new GMR Magnetic AF Sensor, resulting in quick and silent focusing. In case you want to focus manually, the lens features Tokina’s exclusive One-Touch Focus Clutch mechanism so the photographer simply pushes the focus ring backward in order to engage manual focus. When the focus ring is set in AF, rotating it has no effect so its not able to override focus setting. In MF the focusing ring can be set beyond infinity mark, and from the tests I made so far the proper infinity point is set directly in the middle like shown below. Specifically for astrophotography this is very convenient in use, as even if the focus ring is accidentally moved, you can easily return it to the correct focus without having to check the live view. Although for this type of lenses the autofocus speed is not so important, from my tests so far on the Nikon D850, the autofocus in its operation was fast while also reliable and accurate, although a small noise can be heard sometimes. According to the included manual, this is the sound of the ball bearings that are designed to smooth the movement of the focus ring. Of course this is not indicating a problem with the general functioning of the lens nor its too distracting in its use. The Minimum Focusing Distance is just and getting so close to the subject in addition to the Angle of View of 107o can create some really interesting angles and compositions! Optical Design The lens features a complex optical design with 15 elements in 13 groups, including the newly created large Aspherical P-MO element and Super-Low Dispersion Glass Elements, which are eliminating chromatic and spherical distortions, as also reducing any ghosting and flaring. This design allows optimal resolution even with the aperture wide open, with very good color accuracy and high contrast. Technical Specifications Mount Type Nikon F also available for Canon EF Focal Length Range 16-28mm Compatible Formats FX,DX Maximum Aperture f/ Minimum Aperture f/22 Angle of View FX-format Elements 15 Groups 13 Diaphragm Blades 9 SD Glass Elements 3 Aspherical Elements 3 FilterSize N/A ImageStabilization N/A Autofocus Yes FocusMode AF/MF Minimum Focus Distance Length Diameter WeightApprox. 940g Flaring As a general rule we could say that when a lens design is more prone to flare high number of elements, no coating, etc, will have as a result poor saturation in the produced images. This is the reason that the flaring behavior of an ultra wide-angle lens is very important because it will also have an impact in total contrast and color rendition. Thanks to Tokina’s new coating technologies, the Opera 16-28mm F/ performs very good when shooting against very bright sources of light. In the majority of the photos I took with the Sun in the frame for this review, there are some signs of flaring and ghosting when closing aperture starting from F/ which for sure are not ruining the whole image and in some cases are easy to remove in post. F/ F/4 F/ F/8 F/11 F/16 Color Rendering Color rendering on Tokina Opera 16-28mm F/ lens is excellent, as the lens delivers great natural colors with saturated blue skies. Color rendering is also bound to Contrast and the lens contrast performance is also very good, as it captures accurately the boundaries of areas with different luminance levels. Nikon D850 – Opera 16-28mm 24mm – f/8, 1/320, ISO 64 Nikon D850 – Opera 16-28mm 16mm – f/8, 1/320, ISO 64 Sharpness In terms of sharpness, the Tokina Opera 16-28mm F/ performance is very good in overall. The lens delivers very good results in the center at f/ and it’s decent in the corners as it is a little soft, but from f/4 sharpness in corners improves drastically and it reaches its optimal performance at f/8. F/ F/4 F/ F/8 F/11 F/16 Chromatic Aberration Chromatic aberrations, or fringing, are those green and purple color halos around areas of difficult high contrast transitions. In the case of Tokina Opera 16-28mm Chromatic aberrations are well controlled in general, with the lens having around 2 pixels or less of CA at all focal lengths and apertures, which can be easily removed in post without issues like shown below. Nikon D850 – Opera 16-28mm 16mm – f/ 1/125, ISO 64 100% Crop – Original, unedited image 100% Crop – Edited image, chromatic aberration removed Please note that even though at the time of writing this review there wasn’t a lens profile for Adobe Camera Raw/Lightroom, the software removed 100% the small fringing with a simple click as shown below. Comatic Aberration Coma Coma is an optical aberration that afflicts off-axis light and it is caused by the curvature of the principal planes of the optical system. Coma becomes apparent when the light rays from the source enter the lens at an indirect angle causing the image to be off axis. The result is a comatic spot in shape, having a bright central core with a triangular flare extending toward the optical axis of the lens. In Tokina Opera 16-28mm F/ lens it can be seen in minor values near the edges of the frame when wide open at f/ and it renders invisible from f/4. Milky Way Galaxy Core over Antiparos Island with high humidity Nikon D850 – Opera 16-28mm 16mm – f/ 30sec, ISO 4000, Slik ECH-630 Star Tracker 16mm F/ 16mm F/4 Zodiacal Light and Andromeda Galaxy M31 after the rain Nikon D850 – Opera 16-28mm 16mm – f/ 10sec, ISO 6400 Vignetting There is a moderate amount of light fall-off towards the borders at F/ which can be corrected on post. Stopping down reduces the amount of vignetting, and from f/4 isn’t visible. Still for most subjects this is not an issue, however as already said, it can be easily fixed in Photoshop/Lightroom. Light Fall-Off from F/ to F/5 F/ F/ F/ F/4 F/ F/5 Bokeh The lens has a nine 9 blades aperture and in theory can create a good looking bokeh, but due to their nature, these type of lenses are not meant to be used for subject isolation, except if you get very close to your subject. So bokeh is rarely visible, still when it does, it is round and good looking. Distortion The rectilinear design is eliminating barrel distortion so the lens is distortion free and lines are appearing straight. Still, keep in mind to consider the perspective distortion that may occur with ultra wide angle lenses. Conclusion In overall, a very good all-around ultra wide angle lens for full frame cameras, bright enough with its constant F/ aperture to be used on low light photography, a very usable focal range for use on various photography genres and with very good optical performance even wide open. Most importantly, at a very competitive price. More Images with Tokina Opera 16-28mm F/ Christophe Anagnostopoulos, Global Ambassador of Tokina & Hoya, is an international award-winning filmmaker and professional time-lapse photographer, based in Greece. Website Vimeo Facebook IMDB The Tokina Opera 16-28mm f/ lens is priced at $699, check availability at Adorama, B&H and Amazon Tokina 16-28mm f/ Image SamplesNIKON D800E + 16-28mm f/ 28mm, ISO 100, 4/10, f/ D800E + 16-28mm f/ 28mm, ISO 800, 1/10, f/ D800E + 16-28mm f/ 16mm, ISO 200, 1/160, f/ D800E + 16-28mm f/ 16mm, ISO 200, 1/125, f/ D800E + 16-28mm f/ 17mm, ISO 200, 1/125, f/ D800E + 16-28mm f/ 18mm, ISO 200, 1/250, f/ D5500 + 16-28mm f/ 20mm, ISO 100, 1/640, f/ D5500 + 16-28mm f/ 16mm, ISO 100, 1/30, f/ Images Copyright © Photography Life, All Rights Reserved. Copying or reproduction is not permitted without written permission from the author. The Tokina 16-28mm f/ AT-X Pro FX Lens is an affordable, ultra wide angle lens with an also-ultra wide f/ aperture available over the entire focal length range. That this lens is full-frame-compatible adds greatly to its desirability. This is a solidly-built lens with a heft, thanks to the large amount of glass required by this design. The Focal Length Range Usually, the focal length range of a lens should be the starting criteria for your selection process. A sub 2x focal length range is not going to garner too much excitement, but for most people, unless they specialize in a certain genre of photography, a 16-28mm focal length range is not going to be the only lens in their kit. Perhaps a wide angle-only landscape photographer could make this range work as their sole lens. Perhaps an interior architect photographer could do this same. But the ultra-wide angle 16-28mm range will far more typically complement a general purpose zoom lens in most people's kits. Here is a pair of focal length comparisons As an overall range, 16-28 does not impress. As an addition to a 24mm-something general purpose lens, 16mm very much impresses. On an ASP-C/ FOVCF sensor format DSLR camera, the 16-28mm range frames like a full frame lens. This angle of view covers just more than the wider half of what I typically recommend for APS-C general purposes lenses. APS-C owners have a much broader lens selection covering at least most of this range available to choose from including some f/ options, making the 16-28 a harder sell to this group. The f/ aperture is a very strong feature of this lens. There are few full frame ultra wide angle zoom lenses available with an aperture this wide. Canon and Nikon have them, Tamron and Sigma do not. And the Sigma 18-35mm f/ DC HSM Lens is the only APS-C zoom lens with a wider aperture. A wide aperture allows more light to reach the sensor, making the lens a good choice for stopping movement in low light and for creating a stronger background blur. Use this lens to capture the big picture at your low light events including weddings, anniversaries and parties. Use ultra-wide angle focal lengths to emphasize make large a foreground subject in front of a broad, expansive background. Just don't make that foreground subject someone's nose. Because of the perspective distortion-inducing close distances required for individual portrait photography at these angles of view, this use is not recommended. Better-captured at ultra-wide angles of view are environmental style portraits. Wide angle lenses are generally very useful for landscape photographs imparting a feeling of presence. Landscape photography of course does not require a wide aperture, but having f/ does not hurt and adds shallow depth of field capability to your landscape kit. Architectural and interior photography often require a wide angle of view. This lens is suited for these uses. Just because the angle of view and max aperture of a lens are right for your needs does not mean that your lens requirements list is complete. Image quality remains a key attribute for your "right" lens. Image Quality At 16mm, the Tokina 16-28mm f/ AT-X Pro FX Lens turns in very good image sharpness. At f/ this lens is slightly soft in the center and a bit softer in the full frame corners. Improvements, especially in the corners, dial in as the aperture narrows until f/ Little improvement is noticeable beyond f/ but ... improvement is not needed because this lens is very sharp across the frame at this aperture. Results look great. Image sharpness diminishes as the focal length increases. At 20mm, image sharpness across the frame becomes quite good at f/ though corners remain slightly soft until f/8. At 24 through 28mm, expect mildly-soft center of the frame performance and rather soft corners at f/ At 28mm, full frame corner image quality never becomes totally excellent, but f/8 image quality is good overall. There is some field curvature going on with this lens favoring sharper backgrounds at the edges of the frame. Some of the 16mm narrower aperture sharpness improvement appearance can be attributed to reduced vignetting. Full frame DSLR camera users are going to notice the nearly 3 stops of peripheral shading at 16mm f/ Wide open aperture shading amounts reduce to about stops at 20mm, stops at 24mm and stops at 28mm. The rule is that narrower apertures result in less corner shading. A significant improvement in shading is seen at f/4 at the wide end of the focal length range with less improvement showing at the long end. Improvements beyond the f/4 aperture, however, are only minor. At f/11, stops of corner shading can be seen at 16mm and the least amount of shading is seen at 28mm where .6 stops of shading remains. A one stop amount of shading is usually where this attribute becomes noticeable, so you might notice some darker corners even at f/11 when shooting at 16mm through about 20mm. APS-C/ format DSLR camera owners can ignore this shading discussion unless they plan to upgrade to full frame someday. Full frame owners are going to see a mild amount of CA Chromatic Aberration in the corners of, primarily, the wider half of the focal length range. APS-C owners once again avoid most of the issue. There is a lot of glass on that convex front lens element and this lens overall delivers some of the most interesting flare I've seen. The above 24mm f/8 example is from the standard flare test. Love that circled cross. If the sun or another bright light is in the frame, you are going to see the results of flare in your images. I have encountered the issue multiple times when using this lens. A common lens flaw is "coma". I most frequently see the effects of coma when shooting the night sky, so this flaw is more of an issue in a wide angle, wide aperture lens that invites use for night sky photography. Stars in the corner of the frame should be round points of light or, more likely, short straight lines due to motion occurring during the long exposure necessary to capture a night sky. Obviously, the stars in the image below are not round and are not straight lines. Note that I removed some near-starless sky to show more stars in this 100% full frame corner crop. The stars in the corner of this 16mm frame have very interesting shapes I sometimes refer to them as spaceship-like. Other focal lengths deliver similar results. Again, coma is common in similar lenses including many prime lenses. The amount of coma in this lens is toward the stronger end of what I typically see. Though this is not a strong background-blurring lens, the Tokina 16-28 generally delivers good bokeh background blur quality. However, it has delivered something less than desired on occasion. Examples of both can be seen below. All three of the above 100% crops were taken from a similar location near in the frame – the left side. The "Bad" example was captured at f/ with a slightly longer focus distance than the two closer-focused "Good" examples these were captured at f/ and f/8. If it is an ultra-wide angle zoom lens, it probably has barrel distortion at the wide end of the focal length range. And the Tokina 16-28 lives up to expectations with modestly strong barrel distortion though nothing unusual at 16mm. By 24mm, that distortion is essentially cleared up with slight pincushion distortion becoming visible at 28mm. With a mix of good and bad in the image quality of this lens, you need to decide if the flaws will interfere with your planned use for this lens. Focusing Always critical to good image quality is accurate focusing. Tokina claims use of a "newly developed silent DC motor" in the Tokina 16-28mm f/ AT-X Pro FX Lens, but whoever wrote that must have been at least mildly hearing impaired – or they never heard this lens autofocus. Some sharp clicks and chatter is usually what you will hear, but a motor whirring sound is apparent with a full extent focus distance change. The sound is not obnoxious, but you can hear it. Along with the silent claim, Tokina also claims "The DC motor coupled with a new GMR magnetic AF sensor work together to increase AF Speed." [Tokina Press Release] That statement may be accurate, but notice that Tokina is not claiming "fast" AF performance. While minor focus distance changes especially at longer distance happen with adequate-for-most-purposes speed, the slow AF becomes quite apparent when focusing from one extreme to the other. Due to relatively slow auto focus performance, this lens might not be the best option for your sports needs. More important is focus accuracy and in this regard I have no complaints with the Tokina 16-28. A high percentage of my images have been properly focused. FTM Full Time Manual focusing is not supported in the Tokina 16-28mm f/ AT-X Pro FX Lens. Also lacking are any conventional switches including one for manual focus mode. The Tokina 16-28 utilizes a push/pull focus ring clutch to shift into and out of manual focusing mode. Tokina refers to their "exclusive" design as the "One-touch Focus Clutch Mechanism". Just because it is exclusive does not mean that I like it. This is not my favorite design. When pulling rearward on the focus ring to engage MF mode, the gear teeth must be aligned. This means that the focus ring sometimes must be rotated slightly – and that you will often inadvertently rotate the focus distance setting slightly with the shift process. The shifting also results in a loud "snap" if you are not carefully avoiding this. Your wedding guests are going to hear this during the ceremony. On a couple of occasions, AF failed to re-engage after I was finished using manual focus mode. Shifting the lens in and out of AF mode a few times resolved the problem. I can't say if this issue is isolated to my lens or indicative of the performance of all such lenses. When locked into MF mode, the Tokina 16-28 manually focuses smoothly with no play though the ring itself exhibits some tilt/wobble. With 86° of focus rotation, manual focus is slightly touchy, but it works nicely. A focus window provides the usual ft and m distance information. This lens is internal focusing, but no threaded filter attachment is available, so this positive feature has less merit. Videographers will appreciate that subjects remain similarly size as they go into and out of focus. If not parfocal, this lens is close to being so. This means that you can adjust focal length after focusing without the need to refocus. Videographers can easily zoom in or out during recording. The Tokina 16-28mm f/ AT-X Pro FX Lens is not going to win any awards for its close-focusing performance. While its MFD Minimum Focus Distance and MM Maximum Magnification specs place it toward worst in class, the differences are, mostly, insignificant. It is not likely that someone will choose the Canon 16-35 L II over the Tokina 16-28 just to get the extra of MM. ModelMFDMM Canon EF 17-40mm f/4 L USM Canon EF 16-35mm f/ L II USM Tokina 16-28mm f/ AT-X Pro FX Tokina 17-35mm f/4 AT-X Pro FX Design and Build As I said before, there are no normal "switches" on the Tokina 16-28mm f/ AT-X Pro FX Lens, but you can see the focus ring shift forward/rearward as you mouseover the labels above. Also notice that the convex front lens element extends within the hood when zoomed to 16mm. The adequately-sized, well-positioned and strongly ribbed zoom ring on this lens is very smooth, but quite tight. Especially because it rotates the opposite direction of the Canon standard, I have multiple times found myself trying to zoom in the wrong direction twice. I did not rotate with enough force in the correct direction, tried the Canon way and finally turned with enough force in the correct direction to change focal length. There is a very small amount of play in the zoom ring gearing, but I'm not sure that most would notice this if the ring were not so tight upon gear contact with the ring. Tokina does not talk about weather sealing in the press release for this lens, but with a lens mount gasket provided, we can be sure that some level of protection is provided. A lens hood comes standard on the Tokina 16-28. In fact, it's built in. The good news is that you will never lose it, never have to install it, never have to remove it and it is always in place to do its job. The bad news is that built-in lens hood are usually installed on lenses with convex front elements. And this means that standard threaded filters are not accepted. The other bad news is that conventional, flat, clip-on lens caps do not work on this design. Tokina provided a friction-fit semi-flexible plastic/nylon cap that slides over the hood. These caps are prone to sliding off especially when pulled out of a case, but the Tokina cap has been working reasonably well relative to others I've used. Noticeably different from other lenses in this class is the weight of this lens. In this spec, the 16-28 takes a noticeable lead – and in this case, some may choose an alternate lens for the weight savings. ModelWeightDimensions w/o HoodFilterYear Canon EF 17-40mm f/4 L USM oz475g x x 97mm77mm2003 Canon EF 16-35mm f/ L II USM oz640g x x Tokina 16-28mm f/ AT-X Pro FX oz950g x x Tokina 17-35mm f/4 AT-X Pro FX oz600g x x 94mm82mm2011 For many more comparisons, review the complete Tokina 16-28mm f/ AT-X Pro FX Lens Specifications using the site's Lens Spec tool. While the lens body is made from a quality-grade plastic, there is a lot of glass in this body and glass is not light. The weight gives this lens a heft, making it seem quite solid. The weight also helps when stabilizing the lens for a handheld shot. The weight does not help the muscles in your arms, shoulders and back if you are holding or carrying this lens for long periods of time. While this lens is larger than others in its class, adding the hoods evens out the playing field. Positioned above from left to right in their fully retracted positions are the following lenses Canon EF 16-35mm f/ L II USM Lens Tokina 16-28mm f/ AT-X Pro FX Lens Tokina 17-35mm f/4 AT-X Pro FX Lens Canon EF 17-40mm f/4 L USM Lens The same lenses are shown below in their fully extended states with their lens hoods in place. I have to admit that I've mostly discontinued use of the Canon 16-35 L II hood due to its huge width and the relatively small protection it provides from both bright light and impact. Compared to the Canon EF 16-35mm f/ L II USM Lens The 16-35 L II is going to be THE lens that many compare to the Tokina 16-28. I spent a lot of time shooting comparisons between the Tokina 16-28mm f/ AT-X Pro FX Lens and the Canon EF 16-35mm f/ L II USM Lens. And from a 16mm f/ image sharpness perspective, it was very difficult to come up with a strong case for either lens. In any given comparison, I could select a portion of the frame that favored either lens. I could give the Canon a strong advantage or I could give the Tokina a strong advantage by simply selecting the right crop to share. The biggest reason for this is the difference in field curvature. Toward frame corners in identically focused images, the Tokina generally favors backgrounds and the Canon generally favors foregrounds. Stopping down the aperture, I can give the Tokina the slight advantage at 16mm. At longer focal lengths, the Canon takes over the lead – strongly so at the long end. The Canon is sharper at f/ and especially sharper at narrower apertures – especially in the full frame corners. The Canon has somewhat less flare, but not significantly less. Interesting is that the Tokina consistently meters 1/3 stop darker than the Canon in my 1Ds III comparisons. The Canon has significantly faster AF. The Canon has a much nicer manual focusing implementation that includes FTM focusing. The Canon has a nicer overall design, is smaller without the hood at least and weighs 11 oz 310g less. Neither lens has a long focal length range, but the Canon has the longest range by comparison. To see the difference between 28mm and 35mm, see the focal length range comparison in the 16-35mm L II review. Another big advantage that Canon holds is the ability to accept standard threaded front lens filters. The price is a big deal Saving the Tokina 16-28mm f/ AT-X Pro FX Lens' biggest advantage for last price. The 16-28's price is a major differentiator and will be the decision maker for many. At review time, the Tokina costs less than half of the price of the Canon. And that of course garners attention. If you do not need the f/ aperture, the two f/4 ultra-wide angle zoom lenses shown in the comparison image are worth considering. They will save you both weight and the Tokina version will save you money the Canon 17-40 L remains more expensive than the Tokina 16-28. Both f/4 lenses have longer focal length ranges. As I mentioned early in the review, APS-C format DSLR camera owners have many other options to consider. The Tokina 16-28mm f/ AT-X Pro FX Lens is available in Canon reviewed and Nikon mounts. My standard disclaimer There are potential issues with third party lenses. Since Tokina reverse engineers vs. licenses manufacturer AF algorithms, there is always the possibility that a DSLR body might not support a likely older third party lens. Sometimes a lens can be made compatible by the manufacturer, sometimes not. There is also the risk of a problem that results in the lens and body manufacturers directing blame at each other. Tokina USA's 3-year warranty is 3x longer than Canon's 1 year warranty. The evaluation lens was purchased retail. I've had this lens in my kit for over two years and have used it periodically throughout that time period. Overall, this is a quality lens with reasonable image quality. The Tokina 16-28mm f/ AT-X Pro FX Lens is not going to rock your image sharpness world, but performance at 16mm is especially good. The relatively short focal length range becomes further limited if avoiding the longer focal lengths for sharpness reasons, but your general purpose lens is probably going to handle the 24mm-something focal length range. The price of this lens is especially low – buying this lens even for just 16mm can be justified. If you need an inexpensive f/ max aperture, ultra-wide angle, full frame compatible lens, the Tokina 16-28mm f/ AT-X Pro FX Lens is likely your best option. Bringing you this site is my full-time job typically 60-80 hours per week. Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. I am grateful for your support! - Bryan My Recommended Tokina 16-28mm f/ AT-X Pro FX Lens Retailers Rent the Tokina 16-28mm f/ AT-X Pro FX Lens The Tip Jar More Tokina 16-28mm f/ AT-X Pro FX Lens Related Information

tokina 16 28 nikon