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The industry's widest
high-speed ultrawide zoom for DSLRs,
this digital-only lens ($570, street) is one of
Tokina's AT-X series of pro-quality optics.
A 16.5-24mm equivalent, its design is
based on Tokina's 12-24mm f/4. Available
only in Canon and Nikon mounts, it has
no AF motor in the Nikon version, so it
can't autofocus on the D40, D40x, or D60
(otherwise it's fully dedicated to these
bodies). Tokina's water-repellent coating
on the outer element makes cleaning
fingerprints and other smudges easier.
HANDS ON
Because of the added
glass required for that bright f/2.8
maximum aperture, the lens is heavy
by ultrawide, digital-only standards.
It's attractively finished in a matte black,
stippled surface, with ribbed and
rubberized focus and zoom rings that
both have nicely damped turning actions.
The lens is unique for its zoom scale with
markings for each individual focal length.
It also flips easily from manual to
autofocus, thanks to an MF ring that
doubles as an MF/AF switch. Push or pull
the ring to switch between modes -- much
easier than conventional MF/AF switches.
On our test camera, a Canon EOS
Rebel XS, the AF action was quick and
quiet -- close to what you would expect
from an ultrasonic AF motor. As with most
ultrawide zooms, this Tokina (without a
shade) cast a shadow at all focal lengths
when used with the Rebel's built-in flash.
IN THE LAB
SQF numbers climbed to
about midway into the Excellent range at
three tested focal lengths, an indication of
superb sharpness and contrast.
DxO Analyzer 3.0.1 distortion tests
found barreling in the Visible range at
11mm (0.34%), in the Slight range at
14mm (0.13%), and finally improving into
the Imperceptible range at 16mm (0.06%).
An outstanding performer, the Tokina fared
better here than, for example, the Sony
11-18mm f/4.5-5.6, which showed barrel
distortion between 0.49% and 0.13%, or
the Tamron 11-18mm f/4.5-5.6, which
showed barreling in the Very Visible range
at 11mm (1.01%).
The Tokina's light falloff left the edges
by f/4 at 11mm and by f/3.5 at 14mm and
16mm -- also an excellent performance for
so wide a lens.
At the uniform close-focusing distance
of approximately 12 inches, magnifying
power ranged from 1:16.3 at 11mm, to
1:12.9 at 14mm, and on to a somewhat
disappointing 1:11.2 at 16mm.
CONCLUSIONS
In terms of its
optical purity, this is among the strongest
digital-only, ultrawide lenses we've
seen to date. You pay a price for this
purity, however: The lens doesn't offer
much magnifying power, which limits
the ability to contrast a large foreground
subject against a dramatically distant
background; and, at 1.45X, the zoom
range is quite limited. Any photographer
willing to pay these prices, however, will
reap that unusually fast f/2.8 maximum
aperture for low-light or high-shutterspeed
work, plus extremely well-controlled
distortion (by ultrawide zoom
standards), a trait that architectural or
interior shooters should prize.
SPECIFICATIONS
11-16mm (11.22-15.90mm tested), f/2.8 (f/2.42-2.58 tested), 13 elements in 11 groups. Focusing turns 90 degrees counterclockwise. Zoom ring turns 60 degrees counterclockwise. Focal lengths marked at 11-, 12-, 13-, 14-, 15-, and 16mm.
• Diagonal view angle: 104-82 degrees.
• Weight: 1.26 lb.
• Filter size: 77mm.
• Mounts: Canon AF, Nikon AF.
• Included: Lenshood.
• Street price: $570.
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