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  • Tokina AT-X 16-28mm f/2.8 Pro FX Lens for Nikon
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Tokina AT-X 16-28mm f/2.8 Pro FX Lens for Nikon

by Tokina
| 10 answered questions

List Price: $849.00
Price: $625.74 & FREE Shipping. Details
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Frequently Bought Together

Tokina AT-X 16-28mm f/2.8 Pro FX Lens for Nikon + Nikon EN-EL15 Rechargeable Li-Ion Battery for Select DSLR Cameras (Retail Packaging)
Price for both: $668.74

Buy the selected items together

Read about our customers' top-rated lenses and cameras on our review pages: Lenses, Digital SLR Cameras, Compact System Cameras

Product Details

  • Product Dimensions: 3.5 x 3.5 x 5.2 inches ; 2.1 pounds
  • Shipping Weight: 3 pounds (View shipping rates and policies)
  • ASIN: B003V1YGSW
  • Item model number: AT-X 16 - 28 PRO FX
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (44 customer reviews)
  • Date first available at Amazon.com: August 7, 2010

Product Description

This Tokina lens is the first in a new generation of full frame (FX) lenses designed for professional digital SLR cameras like the Canon EOS 5D Mark II and the Nikon D700 and D3x. The 16-28 zoom range gives the professional photographer a super-wide angle of view to get close to subject for dramatic effect or to take in entire scenes.

  • Silent DC Motor with GMR senor - The 16-28 f/2.8 uses a newly developed silent DC motor that allows the lens to focus faster and more quietly then previous generations. The DC motor coupled with a new GMR magnetic AF sensor work together to increase AF Speed.
  • Ashperical and Super-low Dispersion glass elements - 56mm in diameter, large sizes aspherical glass element is incorporated into the front lens group, while there are 2 more aspherical elements in the rear group. 3 SD super-low dispersion glass elements are also incorporated through-out the optical design to reduce chromatic aberration, give maximum resolution, more even brightness and distortion correction.
  • One-Touch Focus Clutch - Tokinas exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. There is no need to change the AF/MF switch on Nikon camera bodies and there is no second AF/MF switch on the lens for Canon, everything is accomplished by the focus ring.

Customer Reviews

The build quality is great.
Sharpness at f4 is acceptable, although the corners are very soft here.
I am hesitant to even request an exchange.

Most Helpful Customer Reviews

47 of 50 people found the following review helpful By Eric T TOP 1000 REVIEWERVINE VOICE on March 29, 2011
Center performance wide open
Corner performance stopped down
Build Quality

Corner Performance Wide Open
Focus/Clutch Mechanism is Clunky
Design Prohibits the use of Filters
Early model lens cap (contact your local Tokina distributor for the new cap, THK Photo in the US)

Bottom Line:
Superb ultra wide angle for full frame, especially strong in the 16-24mm range, gets weaker by 28mm. Stepped down it can deliver crisp sharpness even in the most extreme corners. I give it 5 stars due to the price/performance ratio. I shoot test charts and real world images to confirm chart results. My recommendation for this lens is for FX/Full Frame cameras. For crop sensors get something lighter and cheaper.

AF performance is good, the lenses uses a new DC focusing motor. It isn't silent, but much quieter than screw drive. It works fast and accurately. I find the AF/MF clutch clunky to use.

This lens performs exceptionally well in the center, even at f/2.8, but still sees a large improvement at f/4. I have had two copies of this lens, and the second copy is slightly softer at f/2.8 in the center, but sharper at f/4 and up, and also lacks the centering defect that my first copy had. The lens is perfectly usable for a close central subject at f/2.8 at any focal length.

For best corner performance and for infinity focus step the aperture down to at least f/5.6 at 16mm and f/8 at 22mm. This held true for both samples of the lens I tested, and the lens is definitely strongest at 16mm where corner performance reaches excellent levels.

Lateral CA is easily visible at 16mm, but is correctable. It is less noticeable towards 28mm.
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32 of 33 people found the following review helpful By Nikonpro on October 25, 2012
Verified Purchase
I am usually one to stick with only Nikon products. I have everything that I need to shoot professionally expect a great wide angle. I have been renting or borrowing as i needed. I have used the Nikon 17-35 2.8 and the Nikon 16-35 4. I was not satisfied with either lens. I just bought the Tokina 16-28 2.8. This lens is SHARP! I have noticed some flare and reflection of light, but that is situational. The build quality is great. In my opinion this lens is sharper than the Nikon 17 35. 2.8, and has far less distortion than the Nikon 16 35 f4. I would suggest this lens to anyone that can not afford the Nikon 12 24.
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28 of 31 people found the following review helpful By Gatorowl on January 12, 2013
I recently obtained this lens to fill in the ultra-wide angle slot in my D800E kit. Nikon is one of the top lens producers, but affordable zoom choices on the UW end are limited. There is the 14-24mm--which is outrageously expensive--and the 16-35mm, which has some of the most outrageous lens distortion at the wide end of any lens in the $1000+ price range. I had a copy of the 14-24mm, but the large size of this lens and my limited UW usage, had me questioning whether I needed a professional level-UW lens. The Tokina reviews had me convinced that this lens might be a reasonable--albeit, not perfect--substitute. Armed with a gift certificate from an Amazon.com competitor and the $100 rebate, my net cost of $699 made this lens irresistible.

Overall, I think I will keep this lens, but I'm not performing my happy dance over it. My test shots were landscape with subjects at distances of 10 meters to infinity (same non-rigorous shots at closer distances suggest that the lens does much better close in). The D800/E twins are very demanding, and this lens has trouble keeping up. It's best to think of this lens as an f/4 or even f/5.6 lens. At no focal length level does f/2.8 produce acceptable results. It is simply out-and-out soft. In fact it was so soft, that I thought that it was, perhaps, out of focus. However, the lens sharpens up a bit by f/4 and reaches maximum sharpness at f/5.6 or f/8. In fact, I found it to be "prickly sharp" at f/8 for all tested focal lengths (FL) (16mm, 20mm, 24mm, and 28mm). Although for some FLs, f/5.6 was sharper in the center, f/8 invariably provided the best side-to-side sharpness.

The lens is at its best at 16mm, which is a good thing because presumably photographers purchase UW lenses primarily for their widest FLs.
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26 of 29 people found the following review helpful By kendalltristan on October 27, 2012
Verified Purchase
This was the first SLR lens I purchased, originally for use with a D5100 but knowing I would eventually buy a full frame camera (now using a D600). Optically this lens is pretty fantastic. I've had no issues getting razor sharp images from either camera (much easier with the 600 as the 5100 has a pretty strong anti-aliasing filter). If you're worried about lens resolution, fear not as this thing is positively fierce in that department, though it does come with a few downsides.

I have exactly three gripes with this lens. One is major, the other two not so much. First and foremost is lens flare. If you have a light source, any light source, within or just outside the frame, your image will have flare. Honestly I knew when purchasing a lens of this variety that this was going to be an issue, but I underestimated it by a fair margin. Any lens of this particular design is going to exhibit quite a bit of flare, however when compared to the Nikkor 14-24mm f/2.8 this one has an undesirable tendency. The Nikkor flares like crazy as well, but it's mostly easy to control and relatively simple to fix in post processing. The Tokina has a tendency to introduce quarter-circular rainbows around any light source at the points closest to and farthest from the lens center. These become more defined as you stop down. Depending on how you shoot, this might not be an issue. If you're out shooting landscapes with the sun at your back, you'll likely never have a problem. If you're in a studio where you're controlling all of the light sources, you'll likely never have a problem. Sadly I primarily shoot architecture at night so the flare issue drives me quite crazy. I'm rather seriously considering selling this to someone it's better suited for and spending the big bucks on the Nikkor.
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