Review Tokina AT-X 16-28 mm/2.8 Pro FX (C FF)
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In 2010, Tokina released the 16-28 mm, completely written as Tokina AT-X 16-28 mm 2.8 Pro FX, specially designed for full-frame cameras. Direct competitors may be the Canon 16-35 mm II, the Nikon 16-35 mm VR and the Sony 16-35 mm. The zoom range of the Tokina aligns perfectly with the range of the Canon 24-105 mm. |
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 Tokina 16- 28 mm @ 16 mm |
 FOV Tokina 16-28 mm @ 28 mm |
Construction and autofocus |
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The lens is made of a high quality type of plastic, and the mount is made of metal. The zoom ring is without play but slightly heavier than I am used to. Focusing manually is possible if the focus ring is shifted to the camera. The focus ring turns very smoothly and without play. Attached to the lens is a flower-shaped lens hood, installing a filter is not possible. The lens is heavy and feels solid. The autofocus is performed by a built-in engine and focusing from 1.5 meters to 15 meters takes 0.35 seconds at a focal length of 28 mm with a Canon 5D MK2. That takes longer than with most HSM or USM driven AF lenses. Importantly, even in low light the camera rarely commutes. |
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Vignetting Tokina 16-28 mm |
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The vignetting in stops is only on the high side at full aperture and f/4.0. Quite an accomplishment for a lens with this angle and luminosity, and also placed on a full-frame camera. |
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Distortion |
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The distortion, expressed as a percentage, is large with a focal distance of 16 mm. At a focal length of 22 mm and 28 mm, the distortion is much lower. Distortion can be controlled with the appropriate software.
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Bokeh |
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Unsharp parts are beautifully displayed by the Tokina 16-28 mm, both at f/2.8 and f/8.0. The bokeh is therefore beautiful, much nicer than with the Canon 16-35 mm II. |
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 Tokina zoomlens @ f/2.8
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 Tokina 16-28 mm @ f/2.8
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Flare |
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In back light, there is some flare. The side images are not clear-cut. |
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Resolution Tokina 16-28 mm |
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The center resolution is already remarkably high at full aperture and in that respect, it is not necessary to aperture. When you look at the angles, you can work fine at f/5.6 and f/8.0 at the extreme zoom positions. With a focal length of 22 mm, you can work best at f/2.8 and f/4.0. All in all, quite an achievement! Click on the image to see all the Imatest data. |
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The total image shows that both the vignetting and the distortion are low. The resolution in the center at f/2.8 is rather high, the corners remain behind. |
 28 mm/2.8
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 28 mm/2.8 centre
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 Tokina 16-28 mm @ 28 mm/2.8 corner |
Chromatic aberration Tokina 16-28 mm |
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The chromatic aberration is beautifully low in all cases. It will rarely be necessary to correct this lens error with software. Click on the image to see all the Imatest data. |
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Conclusion
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Tokina 16-28 mm/2.8
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Look in our overview of tested lenses to compare the performances of this lens to other lenses. |
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Pros
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Cons
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The Tokina 16-28 mm deforms quite strong, especially in the 16 mm position. The vignetting, except at 16 mm, is strikingly low. The resolution in the center is high at different apertures. In order to get sharp corners, there should be stopped down a bit at 16 mm and 28 mm. The optical differences with the Canon 16-35 mm II are small, at some points in favor of the Canon and sometimes in favor of the Tokina. At one point concerning the display, there is a big difference; the bokeh of the Tokina is much more beautiful than the Canon. The latter does have a larger zoom range. The finish of the Tokina is of a high level, but this lens is not waterproof. The purchase price of the Tokina 16-28 mm is significantly lower than that of the Canon 16-35 mm II.
