Tokina AT-X Pro 28-70mm f/2.6-2.8

The best mid range zoom for the D700 that a "little" money can buy! (If you have a better pic of this lens that you can send me or any of the other lenses listed below, i would be grateful!)

So you finally decided to buy a D700, and are now wondering how good that cheap Tokina can really be. Well you are in luck since I have most of the info you will need so as to pick the right version. You will be pleased to know that the fast Tokina mid range zoom is an excellent investment (considering its price on the SH market) but you may want to read on and find out which incarnation is worth buying since there were a few updates to this design and unfortunately, the latest is not the greatest.

Lens versions
What follows is a list of the inscriptions as found on the inside of the lens around the front element (except for the 28-80mm) and a few pics I found on the internet. As far as I can tell there are 5 incarnations of this lens, but some speak of 6 or even 7, so if you have any info please feel free to send it along so I can update this list.

1. AT-X Tokina AF 28-70mm 1:2.8 Ø 72 JAPAN
   This is the first version of a fast mid range zoom that Tokina made as far as i can tell. It's not labeled as a Pro version and only has a filter diameter of 72mm instead of the normal 77mm.
2. Tokina AT-X PRO AF 28-70mm 1:2.6-2.8 Ø 77 JAPAN
   This is the original Pro version which is also the most sought after version by those new D700 owners in the know (based on the Angenieux optical formula). Recognized by the ugly and short screw-on hood. Tokina apparently redesigned the 72mm version with a new focusing system which increased AF speed. Durability was also improved by using an all metal body. Multi-coating was applied to a larger number of lens surfaces improving contrast while at the same time reducing reflections and ghosting and one HLD (High Refraction Low Dispersion) glass was also used though this is not certain.
3. AT-X PRO 28-70mm 1:2.6-2.8 Ø 77 JAPAN
   This is Tokina's attempt to make the same lens with less money, it pretty much failed. This was labelled the Pro II version. A lot of owners have been disappointed by the lesser performance compared to the previous model even though there were better coatings and an aspherical element added. There was even disappointment for the non-pro finish which had a sand like texture that peeled off too easily.
4. Tokina AT-X Pro 28-80mm 1:2.8 (gold badge on focusing ring)
   Unlike its cousins, this version has no markings on the inside around the front element. Instead it carries a gold badge on the focusing ring. The 28-80mm was a good performer but no match for the original Pro I version.
5. Tokina AT-X PRO SV 28-70mm 1:2.8 Ø 77 JAPAN
   SV stands for Super Value and not super performance and this is evident in most tests. My recommendation would be to avoid this version.

NOTE1: The best performing of all these is the original Pro version which this article is about. Second place goes to the Pro II version though some may argue that the Pro II version should grab the title of best performer in this group. If i was forced to give a numerical value from 1 to 5 on these lenses, then i would probably give both of these a 4,5. But how did I come to these conclusions and do I own all of these lenses? the answer to the second part is no. I use to own the Pro II and later the SV version which was no match for my older lens and had regretted at the time for the bad upgrade. Today, I have purchased the original Pro version and a friend has the 28-80mm and we are comparing old test charts shot on film with the two new lenses we have at hand (I will be updating this post as soon as I get more data in)

NOTE2: All of the aforementioned lenses share similar naming conventions which confuses a lot of people and reviewers alike. So be sure to identify the right lens when involved in a forum discussion. They may seem similar but they are each unique and different. Some may wonder why did Tokina ever stray from the original design and I think it had to do with cost cutting.

The Tokina except for the usual people shots can double as a landscape lens as well, even though at 28mm your view is just on the wide side. (28mm @ f/16)

Tokina AT-X history
The Tokina Co Ltd. of Japan has been around since the early fifties. Rumors on the internet suggest that this company was originally started by a group of disgruntled Nikon optical engineers who left Nikon to concentrate on the development of high-quality zoom lenses, which were rare at the time. Whatever the mythology, Tokina consistently produced well made and notable lenses. Originally an OEM manufacturer only, in the early 1970s they began selling lenses under their own Tokina brand. They were one of the first independent companies in the 1970s to produce compact zooms and soon after, an f/2.8 maximum aperture version of the popular 80-20mm zoom. This lens marked the beginning of Tokina's AT-X - Advanced Technology Extra - era (1981) and was built on in the following decade when it acquired the design rights to one of the then most highly regarded fast short zooms, the Angenieux 28-70mm f/2.6, which subsequently appeared as the Tokina AT-X 28-70 f/2.6 - f/2.8.

Angenieux history
The well known (to us older European photographers) French defence and aerospace conglomerate, Angenieux is a company that has always been involved in designing and manufacturing specialised optics for the photo and movie industry since the late thirties. A very innovative company, they will be remembered as the developers of the first retrofocus lens (1950) and of the first zoom lens (1958). Some of their designs were used by Leitz for the Leica R series in the eighties.

The Angenieux 28-70mm f:2.6 AF

Angenieux 28-70mm f:2.6 AF
The 28-70 f:2.6 AF was Angenieux’s last consumer oriented zoom, that was targeted towards the pro market. The lens was just as good optically as any other pro zoom lens of the time either by Nikon or Canon. Unfortunately, its price was also on par with the best of the competition, which made it a tough sale. Later on when Angenieux pulled out of the SLR market, Tokina managed to get usage rights to the Angenieux design and produce the AT-X PRO AF 28-70mm f/2.6-2.8 lens.

Description
Like most of Tokina lenses in the AT-X Pro range, the build quality is exceptionally high thanks to extensive use of duraluminum-alloy. The all metal construction which is nothing like the plastic feel of lenses from other third party manufacturers, is robust and should stand up to a lot of abuse. Although that makes it heavy, I actually prefer it for the better handling when combined with a good solid body.

Something that goes by unnoticed is that the Tokina is a touch slower and wider than advertised. So wide open its more like f/3.5 and at the 50mm marking its really more like 45mm, but for the price, I don't think anyone is going to care.

Focusing and handling
The lens uses two large rubberized rings for zooming and focusing. The operation on both is very smooth and well damped. The manual focusing action especially is silky smooth, with little resistance and no slack - a real dream to use if you are into manual focusing.

The Tokina AT-X Pro 28-70mm f/2.6-2.8 has good bokeh. (70mm @ f/5.6)

On my D300 with battery pack this lens feels like a good match and balances well in the hand. Without the battery pack, the lens makes its weight felt by wanting to nose dive “slightly”, but it still remains a good combo. Unlike some other zooms it does not change its physical length when zooming. Though just like the old Nikkor 80-200mm f/2.8 lens, the front group of elements move within the outer barrel never protruding beyond the filter thread. The AF speed of the lens is quite fast, probably as fast if not faster than my AFS 17-55mm, as long as you haven't left the focusing ring in the MF position. The noise during AF operation is noticeable and obviously louder than my AFS 17-55mm but I wouldn't say this lens is noisy.

Focus Clutch Mechanism
To those not familiar with Tokina lenses, this lens features the so called focus-clutch mechanism which allows you to change between AF and MF operation by pushing/pulling the focus ring (You use this in conjunction with the AF/MF switch on the camera body). As i have already noted on my Tokina 300mm review, I'm not really impressed by this feature but it seems to work OK once you get used to it. Its not so much of a problem for AF shooters but can be problematic if you prefer to manual focus. And if that wasn’t enough, changing from AF to MF or the opposite, requires not only the sliding of the focusing clutch to the right position but also the selection of the AF mode on the camera body as well. Unfortunately this is the "price" you pay.

Quick Specs
Focal length: 28-70mm (42-105mm on DX)
Optical Construction: 16 Elements / 12 Groups
Picture angle: 75°20'-34°20'
MFD: 0.7m
Aperture Range: f/2.6-f/22
Diaphragm: 8 rounded blades
Filter Size: 77mm
Dimensions: 79.5 x 109.5mm
Weight: 760g
Lens Hood: BH773

Whether this particular lens version includes a HLD (High Refractive Low Dispersion) element I am not sure but chances are that it does. The lens features 8 rounded aperture blades which help produce smoother OOF highlights and subsequently better bokeh. Similar to other large aperture standard zooms it isn´t exactly light-weight at 760g but still fairly compact at 110x79mm and easy to handle. The filter size is the standard 77mm but I wouldn't recomend putting a filter on this lens if you want maximum performance. The minimum focusing distance is quite long at 0.7m resulting in a max. object magnification of only ~1:9 at 70mm.

Optical performance in detail
Some people on the internet wrongfully post that this lens is super soft wide open when in fact it's pretty sharp. What they don't realize is that the lack of contrast is what gives the impression of softness and this is something that can be corrected to some degree in post processing.

All of the various versions of this lens design perform OK but the best performance belongs to the original pro version. It's pretty sharp even towards the edges wide open on a full frame D700 - what it lacks is contrast which gives the impression of less sharpness.

Above: This is the worst case scenario with the Tokina. Wide open straight out of the camera with no sharpening. Seems soft and with very little contrast but can be improved.


Above: This is the Tokina shot with contrast and WB correction and some sharpening applied.

Above: This is the Nikon shot wide open with no sharpening at 100%. Notice the different magnification?

The original Pro version also has a different rendering of the OOF areas and seems to have better bokeh. Like the rest of its family relations it's a bit lacking in the coating department so care must be taken when shooting with a bright light source within the taking frame. Allow me to be more specific here in saying that performance can be maximized by protecting the front element from both dirt and stray light. So keep that front and rear element as clean as possible and try to find a good hood to use. You should also know that the use of a protector filter such as a cheap UV is prohibited since this will only multiply the problem of this lens to flare or ghost (you've been warned). The lens offers a non-rotating 77mm filter mount and should only be used when a polarizer is needed.

This studio portrait was shot with the D300 and the AT-X Pro 28-70mm f/2.6-2.8 lens at 70mm (1/160 @ f/5.6). You cant really tell much from the above photo apart from the fact that someone has used this lens professionally. The image below is a 100% screen grab from the original JPG file as it came straight from the camera with no sharpening what so ever.

Closing down to f/3.5 improves sharpness and contrast a lot and this is important to know. By f/4 the images produced on a FX sensor are non distinguishable from any Nikkor and by f/5.6 it performs just as well as any Nikkor even on a DX sensor. What this means is that since this is not a high resolving lens like the Nikkor, it performs better on the 12MP FX sensor than it does on the demanding 12MP DX sensor.

Nikon D700 & AFS 24-70mm f/2.8

Nikon D700 & Tokina ATX Pro 28-70mm f/2.6-2.8

The above samples from the D700 where shot at f/4 and are 100% screen grabs without any sharpening applied. The Nikkor shows more contrast and better color but the sharpness is very close.

Also, before closing this chapter on optical performance, I should point out that like all fast lenses, the Tokina AT-X PRO AF 28-70mm f/2.6-2.8 is also prone to some noticeable vignetting, which should be of no surprise.

Should I buy the Tokina or the Nikon?
Well this you need to answer yourself. An AFS 24-70mm costs around 1500€, and a second hand AFS 28-70mm f/2.8 can fetch 800€ so a used Tokina at 200€ is not only a bargain but a steal. Even the Sigma 24-70mm f/2.8 EX DG HSM costs over 800€. Of course if you are a pro and plan on using it every day wide open, then maybe you should spend the money for the Nikon.

Last words
Apart from some minor negative issues, this lens has proven a rugged workhorse with the ability to produce excellent imagery. So it turns out that this is a real sleeper lens and no matter what you pay for it on the SH market, it still by far much better value than the Nikkor.


IN SUMMARY

Chromatic aberrations
Like a lot of Tokina products, some color fringing in high contrast areas might show up at times, but most of it can be corrected in post processing. The real problem with this lens is flaring something that can be controlled to a certain point.

Vignetting
There is a hint of light fall-off at the corners when shooting wide open on full frame but on the DX format there is no light fall off to talk about.

Distortion
On the DX format cameras there is no distortion. On FX the distortion near the corners at 28mm can be annoying, although cheaper consumer zooms are no better. If you shooting architecture at this focal length, find a better lens. If on the other hand you are used to consumer zooms then you'll probably find the Tokina to be distortion free by comparison.

Sharpness
Excellent at all apertures with best performance between f/4 and f/8. You can shoot at f/2.8 if you really need the speed, but that would require some post processing to bring the contrast up and the sharpness a little. At f/4 image resolution is excellent. At f/22 diffraction spoils the finer details in a big way, so avoid this aperture at all costs.

NOTES
Still confused as to how to recognize a true Angenieux design - well as far as I can tell, the true Angenieux design only uses a screw in hood and does not include a Bayonet. So this would exclude the Pro II version, though i may be wrong on this.

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Update (10/11/2009)
Charlie, a reader of this blog has sent in the pic below of a version I was not aware of. It's without the bayonet and like the original Pro version only accepts screw in hood. Plus it's a straight f/2.8. I would place this somewhere between the original Pro version and the Pro II version. I would appreciate any help in the identification of the new lens below or any new info the series. I should point out that we should try to identify only those lenses that are a Nikon fit, in case the same version lens in a different mount has a different inscription.




Update (11/11/2009)
Charlie has sent the following info:

Hi John
Thanks for the reply I just found out that this is the same version as 28-70mm f2.6-2.8 which is the lens for international markets(for export purpose). The lens of the picture I sent you is solely
for domestic market of Japan. So they are identical products.

Thanks
Charlie



Update (13/11/2009)
David, a friend of this blog has sent in the following pic. This looks like something between the Pro II and SV version, but I would place this in the same category as the Pro II.

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