Tokina Opera 16‑28mm f/2.8 FF
Add drama to wide-angle shooting
Will we sing the praises of this wide-angle?
Tokina has focused most of its attention on wide-angle lenses over the years, earning a good reputation in this sector of the market. Surprisingly, the first lens in the new series of Opera lenses was a 50mm f/1.4 prime, but the second is a direct replacement for Tokina’s popular ATX 16-28mm f/2.8 Pro wide-angle zoom for full-frame Canon and Nikon SLRs.
The new 16-28mm is aimed at enthusiast photographers, with Tokina’s typically sturdy build quality and a fast and constant f/2.8 aperture rating. The metal mounting plate is weather-sealed and the bulbous front element is protected by a fixed petal hood.
The optical layout is based on 15 elements in 13 groups: there are three glass-moulded aspherical elements, including one large-diameter precision-moulded element, second from the front. Towards the rear, three low-dispersion elements are featured, with the aim of reducing lateral and spherical chromatic aberrations.
As with the older AT-X Pro lens, the opera’s autofocus system is based on a ‘silent’ DC motor coupled with a GMR (Giant MagnetoResistance) magnetic sensor. Tokina says the GMR sensor has been updated for increased speed and accuracy. We didn’t notice any real boost in speed and autofocus remains slower than in competing ultra-wide zooms that feature ring-type ultrasonic or stepping motor systems. However, autofocus proved more consistently accurate in our tests.
Performance
At the short end of the zoom range, centre sharpness and contrast are fabulous, even wide-open at f/2.8. At mid to long zoom settings, centre sharpness is similarly excellent if you stop down to f/4. Corner sharpness is less impressive. Vignetting is fairly low for such a wide-angle, wide-aperture lens. Matthew Richards