Anti-reflective multi-layer coating improves light transmission and minimizes reflections while water-repellent coating makes wiping and cleaning the surface of the front glass element easier. It's amazing how much sharper the Tokina is than the Nikkor. At the normal (smaller) apertures at which a smart person would shoot this, the differences become much more subtle. These were shot on a tripod, and I even left the Kenko UV filter on the loaned Tokina. A constant maximum aperture of f/2.8 throughout the entire zoom range is realized to achieve great results in low light environments, for depth of field control and easy manual shooting, while maintaining a reasonable size and weight of the lens. Optical Performance It's remarkable how much better the Tokina is with real, 3D subjects at all points in the image. Normally when I do these comparisons I don't present examples because it's not as easy to show with just one example image. Optically, it's fine, and a stop faster than anything else made in this format for use in low light.

Nikon cheats a little with their 12-24mm: the widest end of the 12-24mm really only covers the same as a 20mm lens on my D3. I have to set this Tokina to about 12.2mm to see the same as the Nikkor at its 12mm stop. Zooming to 13mm results in a reduction of clarity across the frame, especially at brighter apertures. At f/2.8 sharpness in the centre is fairly good, and only fair towards the edges. Just as at 11mm, peak quality across the frame is achieved at f/8, where sharpness in the centre is outstanding, and very good towards the edges. Keep in mind that built-in flash coverage on most DSLRs will not cover 16mm, so plan on an alternative method of flash lighting/diffusion if If you need autofocus on your D40, D40x or D60, you need either the Nikkor 12-24mm or the Sigma 10-20mm HSM. I wouldn't worry; AF isn't critical with ultra wide lenses.

The Tokina 11-16mm f/2.8 AT-X Pro DX Lens has a shorter focal length range than of any of the other lenses in this comparison. Buying this lens, you won't be left scratching your head, wondering how you just got ripped-off paying for a plastic lens from Nikon or Canon. 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. Levels of chromatic aberrations towards the edges of the frame are high throughout the zoom range, exceeding two pixel widths at each zoom setting and aperture. This level may cause issues with any high contrast subjects towards the edges of the frame, such as tree branches and will show in large reproductions of images.

Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges. Averaging them out gives the red weighted column. If you're on a budget, don't bother with expensive thin-mount filters. If you're loaded, go for it since it gets close at the widest setting. It works much better than it has any right to. Be sure to use it naked (no filter) to eliminate any vignetting. If the in-your-face, perspective-distorted close-up look is what you really want, the other lenses in this review group,

Tokina 11-16mm f/2.8 ATX-i CF User Reviews

Sorry, this Tokina lens is not designed by Nikon, not sold by Nikon and not supported by Nikon. This is one thing that doesn't work as it does with a genuine Nikon Nikkor lens.

The Tokina 11-16 is a lens of bests and worsts, but its price tag falls in the middle of those of this group - and noticeably lower than the most expensive lens (the Canon).The small focal length range does at times feel a bit limiting. You’re always going to be at a wide angle shot, whereas something like the Nikon 10-24 will get youcloser to your subject without swapping lenses. Corners at f/2.8, especially at the wide end of the focal length range are obviously softer than the center.