Review Tokina 100 mm Macro

In 2005, the Tokina 100 mm 2.8 Macro was released. There are many lenses from 2005 for which the image quality was immediately exceeded by more modern versions. That is not the case here. It is precisely because of the high image quality that this is still a popular lens. After an extremely enthusiastic Tokina 100 mm macro review by Ken Rockwell in 2015, this lens was even sold out worldwide for a while. That seems to us to be a very good excuse for devoting a short review to this macro lens, to alert our readers to this potentially great buy.

This Tokina 100mm f/2.8 Macro is a fantastic lens. It’s optical performance is as good or better than the best from Nikon and Canon. Ken Rockwell

Our conclusion? Ken did not go too far in his enthusiasm over the Tokina 100 mm f/2.8 macro. The optical performance of this lens is sublime. That is good news for macro photographers, but also for portrait photographers. This macro lens is namely also very well suited to portrait photography. On full-frame cameras, you get an excellent image: beautiful background blur and simultaneously sharp to the corners. No field curvature at all. The lens properties and large aperture offer a lovely, almost enchanting blur. In the macro area, it is a magnification of 1:1; that is really big. Because you can work from a greater distance, this lens lends itself outstandingly to photographing smaller, easily startled animals, like butterflies.


Build and AF


The Tokina 100 mm macro lens feels solid and is very nicely finished. The housing is made of plastic, and the mount is metal. The lens hood is very large and attaches sturdily. On the product photo above, you can clearly see that the front lens is deeply recessed in the lens housing, so that you will not have trouble from backlighting, even without the lens hood. The filter does not turn during focusing. The focus ring is covered in rubber and feels nicely stiff. If you slide this ring backwards, then you can focus manually. The focus ring turns very smoothly, and the focus arc amounts to nearly 180 degrees. For manual focusing, often needed with macro, that is sufficient. The lens has its own AF motor of the conventional type. For focusing from infinity to close up, the lens becomes a good bit larger. Automatic focusing is a bit slower than what we are accustomed to with more modern lenses, from 15 meters to 1.5 meters in 0.35 seconds. Just as with the AT-X M35 PRO D, the focus area of the lens can be limited (Full or Limit) for faster focusing. The focusing of the Tokina 100 mm macro is reasonably quiet, and the camera wanders a little bit in low light. The AF is accurate, even in the close-up area.
This macro lens can be used for both full-frame cameras and APS-C cameras. The focal length is perfect for a portrait lens. The Tokina 100 mm 2.8 Macro is less expensive than most other 100 mm macro lenses. Some macro lenses have image stabilization, while the Tokina 100 mm 2.8 Macro does not.
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Vignetting, chromatic aberration and distortion on the Tokina 100 mm macro

Distortion is absent. That is usually the case with macro lenses. Vignetting of the Tokina 100 mm macro, expressed in stops, is strikingly low. Even at full aperture, f/2.8, this is less than half a stop. You rarely find that with full-frame.
Lateral chromatic aberration—colored edges at sharp contrast transitions in the corners—is absent. Not because of a software correction, but because of a good lens design: the RAW files also show no lateral chromatic aberration.
Longitudinal chromatic aberration—colored edges in the bokeh, a lens error that you can encounter with lenses that have a brightness of f/2.8 or better—is pretty much entirely absent. Perfect!
Vignet Tokina100mm macro


For a macro lens, great blur in the foreground and background due to the limited focal depth is very important. The Tokina 100 mm macro does very well on this point: blurred circles have even coverage, and the image remains very quiet.
Tokina 100 mm 2a
Tokina 100 mm 2b
Tokina 100mm 2e
Tokina 100 mm macro @f/2.8
Tokina 100mm 2f
Tokina 100 mm macro @f/8.0


The front lens of the Tokina 100 mm f/2.8 is recessed in the lens housing, and that prevents not only damage, but also provides nicer shots in bright backlighting. The sensitivity to backlighting is very well suppressed for the Tokina 100 mm macro. Ghosts are rare. The practice shot, backlit through the leaves, looks remarkably good. The Canon 100 mm 2.8 IS Macro has, both in practice and in the test studio, more trouble with flare.


Tokina 100 mm 3 Tokina 100mm 3a

Sharpness of the Tokina 100 mm macro

The resolution of the Tokina 100 mm macro, expressed in lines/sensor height, reaches a high value at all apertures. At least as important is the limited difference in resolution between the center and the corners. If you place the Tokina next to the Canon 100 mm 2.8 IS Macro, then you see that the Canon (tested on a Canon 5DsR with 50 megapixels instead of a Nikon D810 with 26 megapixels) renders just a bit sharper. The differences are small, and in practice will seldom be visible.
A strong point of macro lenses is the absence of field curvature: when you photograph a flat surface, there are many lenses that are less sharp in the corners because the focal surface is not completely even. In practice, that does not stand out (and we therefore also take field curvature into account when testing lenses), but for reproduction photography, field curvature can be very troubling. But not with the Tokina 100 mm f/2.8. Field curvature is absent.
Tokina 100mm 1a Tokina 100mm 1

Conclusion Tokina 100 mm 2.8 Macro review on a Nikon D810

Tokina 100 mm prod 2

Use the Lens Comparison or look in our list of reviewed lenses to compare this lens with other lenses.



ECWYSIWYG score: This table shows the performance of this lens if you save the files in the camera as jpg, where you have applied all available in-camera lens corrections. This score gives you for this lens/test camera combination: “What you see is what you get”.  {insertgrid ID = 308}
ECPure RAW score: This table shows the performance of this lens if the file is stored in the camera in RAW format. This score approaches the intrinsic quality of the combination of lens and test camera. If you make use of lens correction profiles in DxO Optics, Photoshop or Lightroom for the conversion of RAW files, then the scores for vignetting, chromatic aberration and distortion are (even) higher. {insertgrid ID = 309}


  • Very high sharpness
  • Low distortion and vignetting
  • Even rendering quality across the whole image
  • Insensitive to backlighting: higher contrast and no ghosts
  • Also perfect as a portrait lens: great bokeh
  • Very favorable purchase price


  • No built-in image stabilization
  • Auto focus is a bit slow

Uncompromising sharpness and a fabulous bokeh/background blur with an extremely practical focal length make the Tokina 100 mm f/2.8 Macro into the ultimate portrait and macro lens.

The Tokina 100 mm Macro, because of the focal length, can be used as both macro lens and portrait lens. The lens is beautifully finished and feels solid. The resolution is high at all apertures, and the difference between the center and the corners is remarkably small. There is no field curvature. This is also an outstanding lens in the area of vignetting and distortion. The bokeh of this lens is really very beautiful. As minus points in comparison with more modern (and more expensive) lenses, you have the slower auto focus (usually not a problem for macro) and the lack of image stabilization. The much more expensive Canon 100 mm 2.8 IS Macro is the direct competitor. The Canon renders a fraction sharper at full aperture but is more sensitive to backlighting than the Tokina 100 mm f/2.8 Macro. The price-to-quality ratio of the Tokina 100 mm Macro is very favorable.

The Tokina 12-24 mm is a success story of Tokina and in this case, we test the second version, fully named Tokina 12-24 mm 4.0 AT-X PRO DX II. The difference between the first and the second version is in another coating. If you want to get even more on the photo with a totally different effect, Tokina provides the 10-17 mm 3.5-4.5 Fisheye. A 12-24 mm is often seen as ‘the’ ideal lens for landscape photography, and can be combined well with a kit lens of 18-55 mm in terms of zoom range. Even when photographing buildings and interiors, you will soon enough appreciate the Tokina 12-24 mm.

Tokina 12-24 review


Tokina 12-24 mm APS-C 12 mm beeldhoek
Tokina 12-24 mm @12 mm 
Tokina 12-24 mm APS-C 24 mm beeldhoek
Tokina zoomlens 12-24 mm @24 mm
Egypte, 18 mm bij 6.3
Tokina 12-24 mm @ f/6.3, 18 mm

Construction and autofocus


Lens experts immediately see that it is a Tokina. If you want to focus manually, you push the focus ring towards you. And when you trust the AF, then you push the ring away from you. Both the zoom ring and the focus ring have exactly the right friction over the whole area. The filter fitting does not turn and the lens feels solid.

The drive of the autofocus happens with a classic drive. You will hear a softly whirring noise during focusing. Focusing, with the Canon 60D as test camera, is fast; from 15 meters to 1.5 meters in 0.23 seconds. Hunting in low light is rarely observed.

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Vignetting Tokina 12-24 mm


Vignetting is only significant at a focal length of 12 mm and only at full aperture. With the right software, this can be controlled. Despite the high bar, this is a good achievement for this fish eye zoom.


Distortion Tokina 12-24 mm


At 12 mm, the distortion is considerable, and in some situations (think about buildings) this will have to be controlled software-wise. At other focal distances, the distortion is negligible, which is quite an achievement.



Blurred areas in the background look a little restless due to the rings. All in all, the bokeh is not that nice. Tokina 12-24 mm APS-C bokeh 1-2
Tokina 12-24 mm APS-C bokeh 2-2
@f/4.0, 24 mm  
Tokina 12-24 mm APS-C bokeh 3-2
@f/4.0, 24 mm


Some flare occurs with a bright light source. Also, ghosting occurs. During the shoot, you will have to make sure that you get no sunshine directly in the lens.


Tokina 12-24 mm APS-C overstraling-2

Resolution Tokina 12-24 mm

In the center, the resolution of the Tokina 12-24 mm is very high; stopping down is hardly necessary. Keep in mind that the scale of the 12 mm graph is to 2000 instead of 1500. The measured values in the corners are lower, but reach very nice values at f/8.0.

Click at the graph to see all Imatest results.


Chromatic aberration


The chromatic aberration of the Tokina 12-24 mm is high mainly at 12 mm, and will have to be controlled by the right software at subjects with a high contrast.

Click at the graph to see all Imatest results.



Conclusion Tokina 12-24 mm 4.0 AT-X PRO DX II review

Tokina 12-24 mm APS-C bouw 1-2 See our list of tested lenses tested by us to compare the performance of this lens to other lenses.
ECWYSIWYG score: This table shows the performance of this lens when you store the files in the camera as jpg, with all available in-camera lens corrections applied. This score gives you for this lens/test camera combination: “What you see is what you get”. {insertgrid ID = 308}


    • Very good resolution in center already at full aperture
    • Good resolution in the corners at f/8.0
    • Fast autofocus
    • Small distortion at 18 mm and 24 mm
    • Low vignetting except for 12 mm/4.0



    • High distortion at 12 mm
    • High vignetting at 12 mm/4.0
    • Not so pretty bokeh
    • High chromatic aberration
It is not a surprise the Tokina 12-24 mm 4.0 DX II a success story. The resolution is high, the distortion is low at 18 mm and 24 mm, and only at 12 mm/4.0, vignetting is high. The lens feels solid and the autofocus is fast. With the right software the high CA can be controlled well. The bokeh, the display of blurred areas, could have been a little nicer. All in all, the Tokina 12-24 mm 4.0 is a real winner!

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