Review Tokina 12-24mm (N APS-C)
We previously reviewed the Tokina 12-24 mm, a successful item from Tokina, on a Canon 60D. This time, we're reviewing the Tokina 12-24 mm on a Nikon D7100, a camera with 24 megapixels.
Tokina 12-24 mm 4.0 AT-X PRO DX II @12 mm
Field of view Tokina 12-24 mm 4.0 AT-X PRO DX II @ 24 mm
On a camera with a DX sensor, such as the Nikon D3200 or Nikon D7100, the 2x zoom range of the Tokina 12-24 mm is comparable with the view angle of an 18-36 mm on a camera with a full-frame sensor. That isn't a spectacularly large range if you want to bring in the details, but in wide-angle range that's usually not the case.
Construction and autofocus
Lens experts know immediately that this is a Tokina, as soon as they see the ring with which you choose between MF and AF. If you want to focus manually, the you push the focus ring towards you. Both the zoom ring and the focus ring have just the right friction throughout their ranges. The filter mount does not turn, which is great when using polarized or ND filters. The Tokina 12-24 mm lens feels solid. The mechanism of the autofocus differs from a classic mechanism. You hear during focus a soft whirring sound. The focusing of the Nikon D3200 and D7100 go pretty fast, and there's no sign of searching in low light.
Vignetting Tokina 12-24 mm
Only at a zoom distance of 12 mm and f/4 or f/5.6 is the vignetting of the Tokina 12-24 mm clearly visible, in both RAW and jpg files. As an illustration, you see below the two worst cases.
Move your mouse over the image for the Imatest results for RAW files.
In our previous review of the Tokina 12-24 mm on a Canon camera, we found a strong (-2%) distortion at 12 mm. In this review, we found for jpg files a lower distortion at 12 mm. In a RAW file, the distortion is about the same as in our earlier review of this lens on a Canon camera. The distortion is visible at 12 mm and 18 mm, for example in photographs of buildings, but it's simple to correct with the help of software.
Blurred elements in the background appear, due to the rings, somewhat disruptive. All in all, the bokeh is not that great. Click on the image for an enlarged version, where you can see the bokeh at a focal length of 12 mm at 100%.
Wide angle zoom lenses are always constructed from a large number of lens elements. Inherent in a complex design is a greater sensitivity to flares. With a bright light source, some flares arise and you get ghosting. While photographing, you must therefore, as much as possible, use the included lens hood and be careful not to get the sun directly in the lens.
Resolution Tokina 12-24 mm
We measured the resolution with a Nikon D3200 and a Nikon D7100. We did this in order to make possible a direct comparison of the resolution with that of the Tokina 12-28 mm . The Nikon D7100 has no moiré filter and the RAW files should thus be less sharp than a RAW file from the Nikon D3200.
When you click on the graph, then you see the graph for resolution at other focal lengths.
Both the Nikon D3200 and the Nikon D7100 apply reduction of chromatic aberration in the camera, because the chromatic aberration of the Tokina 12-24 mm is more clearly visible in RAW files than in jpg files, as you can see in the image below.
When you click on the graph, then you see the graph for chromatic aberration at other focal lengths.
Conclusion Tokina 12-24 mm 4 review
|See our overview of tested lenses or list with tested lenses with a Nikon mount to compare the performances of this lens with other lenses. ||WYSIWYG 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". |