Don’t get me wrong I really like large cameras mostly due to build quality and handling but also due to the larger sensor. In recent years leading manufactures have been pushing the smaller form factor and with that also the smaller sensor size. I’m aware large is still king but with smaller sensor camera of today (D7000, 7D or similar) lens manufactures have a golden opportunity to create smaller lenses with stellar performance. For the consumer smaller also means less expensive.

Among the newest generation of ultra wide angle lenses is the Tokina 11-16mm f/2.8 AT-X 116 Pro DX.
What surprised me at first is, especially when comparing it at the Tokina 16-28mm f/2.8, is the size. It’s much smaller than I expected being a f/2.8 lens. It takes the relatively inexpensive 77mm filter (the 16-28 doesn’t) and it fits in most photo bags. The fast F/2.8 aperture enables photojournalist and other low light explores to capture wide angle shots in very dim light.

The lens features a focus ring as well as a zoom ring. The zoom ring was a little too small for my taste but overall well damped. The lens also feature full-time manual focus override which essentially functions by pushing the focus ring towards the camera body and you’re manually focusing. A solution similar to many macro lenses and it works great. Nor perhaps the most important thing for a wide angle lens is focus speed which is okay. The motor isn’t that fastest on the block but overall decent.

When is comes to the key essential of almost any lenses, the sharpness category, the Tokina manages to impress here as well. Wide open its reasonably sharp with low aberrations. There a little distortion at 11mm but less than what you might expect. You might want to stop down the lens a notch or two for the greatest performance but I you are like me using the lens for landscape photography you’ll likely use much smaller apertures where the lens is close to perfect!

Against the Canon 10-22 is fares very well. Similar in sharpness and contrast but with a lower distortion. The build quality fell much more sturdy. Unfortunately I haven’t had the pleasure reviewing the widest kid on the block the ultra wide Sigma 8-16mm but I’m convinced it’ll fare quite well.

One thing I did notice was lens flare which even without filters was slightly disappointing. Even without the suns close to the frame I could find a lens flare or two. Note that it is difficult to make a super wide angle lens in a compact format with a small lens hood without getting some kind of flare in the frame.

Downloadable samples straight from RAW files (right click and choose save as..)
Sample 1
Sample 2

Conclusion
The Tokina 11-16mm f/2.8 AT-X 116 Pro DX is a great Pro-grade lens for the crop camera. Ultra wide angle with low distortion and good to great sharpness throughout the zoom range. The focus motor could be faster as well as I like lensflare to be reduced but overall very impressive and recommendable.

The specs looks great too! :
16.3Mp Resolution
APS-C 23.6 x 15.6mm X-Trans CMOS Sensor
3.0″ RGBW LCD Monitor
Fujifilm X Mount Lens Mount
XF Lens Series Compatibility
Hybrid Multi Viewfinder
1920 x 1080 HD Video w/ Stereo Sound

The retailer B&H Photo in New York is now taking pre-order HERE

I reckon you have to act fast to get first in line.

Don’t get me wrong it’s not like I haven’t had a chance to review one or another but I’m not  too big of a fan of the point and shoot camera. – Not so much because of their often inferior image quality or their loud flashy exterior but because they lack manual adjustment features. The Ricoh Gr Digital IV is in a whole other ballpark.At first glance the camera looks small, nimble and serious. The build quality is second to none – The body is in fact so well made it makes a reasonable midrange camera like the Canon 7D feel plastic and cheep. The greatest way to describe the build quality would probably be a Canon 1D series body just a whole lot lighter.

The button layout underlines the professional quality. In fact the button layout is quite similar to a DSLR with both a wheel (used to control aperture / shutter speed or similar)  and a thumb-rocker button (which also can control aperture and so on) – The thumb button also doubles as a quick menu button which again can be customized with a number of features, such as bracketing, ISO or a number of other features. The mode selector wheel is quick in use and comes with a lock button you need to press in order to adjust to the wheel. Among other customizable button are also 2 FN button in which you can assign ISO and other features. A thing you should expect from a professional graded camera.

Besides all the aforementioned features the camera is backed up by a 3″ screen with VGA resolution. The screen is great in use, very easy to see and adjustable in brightness. The camera does not come with a viewfinder but in order to keep the size down chances are you won’t miss it.

You can’t speak of the screen without mentioning the menu. At first glance you’ll probably be overwhelmed with the amount a features they put into this camera. Imagine a midrange DSLR menu system with all the FN options on the main menu screen. It takes a while to figure out what does what, but since the camera probably comes in your language the learning curve isn’t that steep.

I’m a manual exposure guy so I never resort to the Aperture Priority program or any other program for that mater. And to my surprise I could configure the camera to work and function similar to my Canon DSLRs. That means controlling shutter speed on the index finger wheel and the aperture on the thumb-rocker. In fact I felt right at home.

If you read my previous review of the excellent Ricoh GXR you’ll find the two bodies are quite similar which is a very good thing. The Ricoh GXR is a little bit bigger but overall the build quality and menu system is much alike and features much of the same user options. Imagine the GXR with a small sensor and a fast F1.9 lens.

Speaking of lens the 28mm F1.9 is very good. It’s remarkable sharp wide open and gains only slightly stopping. Being a prime lens it’s easier to strive for a perfect optical quality and while not quite there (no lens is) it’s pretty darn good. I didn’t notice much distortion and only a slight vignetting at F1.9. The large F1.9 aperture also allow you to shot in locations more dim than you might expect even without cranking to ISO up to 3200.

Although the  Ricoh Gr Digital IV features a somewhat small 1/1.7″ sensor ISO performance is quite good much better than what I expected. I would go as far as saying ISO 1600 is perfectly usable and ISO 3200 is only as a last resort. That being said I seldom use higher ISO as I always bring a tripod to what I shoot but for a photo journalist it’s good news.

With that being said I wish I had the lens hood as well as adapter with me as the lens could benefit from the hood in situations where the sun was close to the edge or the frame. I found colors shifting a little the closer you got to the sun which the lens hood probably could have prevented. Both are available as an accessory.

Downloadable samples straight from RAW files (right click and choose save as..)
Ricoh Gr Digital IV sample 1
Ricoh Gr Digital IV sample 2

Conclusion
I found myself liking the small format that is the  Ricoh Gr Digital IV, more and more as days passed by. I’m deeply impressed by the essential quality of the camera whether it being build  or image quality. In the period I had the Ricoh Gr Digital IV I for review I often choose to bring this small camera with me as a supplement to my Canon 1D rather than bringing the 7D as well.
I would have liked the lens hood to be included from get go but that’s a very small nit. The one thing I could put my finger on would be VGA video. In these days of HD devices everywhere I wonder why Ricoh didn’t include this in the overall great Ricoh Gr Digital IV. Either way highly recommend for everyone looking for a supplement to their DSLR or as a serious number 1 compact camera.

Some of the key highlights are :
16.2Mp 36.0 x 23.9mm CMOS Sensor
Nikon FX-format
EXPEED3 Image Processor
3.2″ LCD Screen w/ Live View
AF-S & AF-I NIKKOR Lens Compatible
RAW, TIFF, JPEG, RAW+JPEG Files
100-12800 ISO
Matrix, Center-Weighted, Spot Metering
CompactFlash Type 1 & XQD Compatible
1080p HD Broadcast Quality Video

If the Nikon D4 is a good as the previous D3s which everything appears to be and even better it’s could be a true candidate for camera of the year.

Now it’s available for pre-order at everyones favorite camera store HERE

The Cotton Carrier Camera Vest is an ingenious carrying solution for the photographer who’s looking for a fast and secure carrying system.

I have been looking a fairly long time for a different way to carry my second “rig” rather than just holding it in my hands. I´ve tried quite a lot carrying solution, all kinds of strap and ideas but either they got in my way whenever I’m lugging the much bigger tripod rig on my shoulder. The strap solution would often be so flimsy it required me to have a hand on the body regardless which overall makes a strap solution unusable. Another dangerous would situation would be if I’m walking across rugged terrain that requires a lot of balance lugging the tripod rig on my shoulder, I need my other hand to balance out the counterweight. With the another hand controlling the smaller rig this could end up with me falling and dropping all of the equipment.

So I looked for different system and saw fellow wildlife photographer using a vest system that looked like what I needed, as it required no hands when carrying it. I quickly searching the web and discovered what turned out to be a shameless copy of the Cotton Carrier Camera Vest. All in all I ended up contacting Cotton Carrier and a week and a number of mails written with their superb sales  / support department later, the Cotton Carrier Vest arrived at my doorstep in a fancy greenish version. (note the pictures on the Cotton Carrier are slightly off in color as the camera used couldn’t capture the true color of the carrier nor the shirt I’m wearing). As a bonus a quick and well fitting hand-strap was included for free.

After adjusting all the straps on the vest (chest, neck and back) the system fits me perfectly. It takes some getting used to but after a couple of tries you’ll be able to take the vest on and off in seconds. The straps for the chest and back are very wide and the ones for the neck is obviously smaller. You can even adjust the width of the neck strap using the brilliant joint of the back which also suits as the main carrying point on the back. There’s two quick releases for the neck strap as well as the chest strap. I consider myself average of weight and size but I’m confident it’ll fit anyone of any size easily. I had enough strapping to go around me twice or three times.   I saw on an instructional video online advising me how to fit the Cotton Carrier perfectly so  I slightly bent the front plate to fit chest as advised.

The brilliant thing about the Cotton Carrier Camera Vest system is the quick release system – It’s amazingly fast in use. You basically mount the camera base plate on your camera body, adjust the direction of plate so the small arrow corresponds with the one found on the vest. Whatever direction the arrow is pointing is the way the system will be carried and locked inside the quick-release on the vest. That means you have to slide the camera and lens in sideways in order to drop it down into the quick-release and afterwards point the camera and lens downwards to lock it. The lesser will gravity down for you. – Doing so will lock and secure and you’ll be running around as crazy as you’ll like, the camera system will never fall out. In order to release it from the vest just to the same maneuver backwards. Thinking back to the old Wild West I’m guessing within a couple of tries you’ll be as fast to grab your camera as a wanted gunslinger.
When locked in the quick-release your hands are completely free which is a major point why I bought the vest.

For extra security Cotton Carrier even included two straps that connects the top of the vest to the camera if case you’ll feel a little bit unsecure about the system or just want to get the hang of the way it works before trying it without suspenders. Now if you’re into extreme sports, skiing or likewise Cotton Carrier even incorporated the large strap just below the chest to come over the camera system and lock it down via a wide and large Velcro piece. – Superb!

Conclusion
There’s much to be said about the Cotton Carrier Camera Vest. It’s so simple yet brilliant. It almost removes the weight of your camera as you’ll carry the it using your upper torso rather than your hands or shoulder. It fits very well and there’s even extra safety features and an extra strap for extreme sportsman (have a look at the Cotton Carrier website for a guy jumping on trampoline with a camera mounted). Whether you have a Pro-size camera body or a smaller one like the Canon 7D I’m using, Cotton Carrier has the solution for you.
I bought a kit with the vest, a plate for a pro-size body and one for smaller APS-C size body and all in fancy greenish color. – All available for a mere $ 119 USD.

If you’re into any type of fast paced photography it’s one of the best tools money can buy!

Now as per say the camera shoot 4-2-2 with no RAW support which might be a drawback for some productions. Still the camera might be a game changer as Canon is considered on of the big boys with a certain “Umpf” in their game.

The samples online definitely looks promising. Enjoy these and behind the scenes HERE

Read the whole thing HERE or visit his site and explore the amazing photographs HERE

Interestingly the Canon should NOT, by rumors at least, focus past F5.6 which the older models does (up to F8). If that’s truely the case is a HUGE setback on an overall superb looking camera, but this rumor has yet to be claimed by Canon.

Canon writes :
“”

LAKE SUCCESS, N.Y., October 18, 2011 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce a completely revolutionized EOS-1D series camera, the Canon EOS-1D X Digital SLR camera.* As the new leader in Canon’s arsenal of professional DSLRs, the EOS-1D X will be a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon’s lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps). Canon’s EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality results to professionals in a wide range of markets, including sports, nature, cinematography, wedding and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X announcement comes on the heels of Canon’s recent manufacturing milestone with the production of the Company’s 50-millionth EOS-series SLR camera in September of 2011. Furthermore, Canon will achieve yet another milestone at the end of this month producing the 70-millionth EF lens.

“The EOS-1D X represents the re-invention of the EOS-1Ds and EOS-1D series, combining new proprietary Canon technologies with the culmination of customer feedback and requests from the field. We are proud to introduce this camera to the worldwide community of professional photographers and cinematographers with the features and capabilities they need to capture the great moments that display their talent,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The Camera With Three Brains
The EOS-1D X features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for metering and AF control. In conjunction with the newly developed high-performance 18-megapixel full-frame Canon CMOS image sensor, the Dual DIGIC 5+ processors provide high-speed continuous shooting, lower noise, and a significant increase in data processing speed than previous EOS-1D models. This new level of data processing speed allows the EOS-1D X to perform many functions including chromatic aberration correction for various Canon EF lenses in-camera instead of through post-production software. The DIGIC 4 processor utilizes a new 100,000-pixel RGB Metering Sensor for enhanced exposure accuracy with color and face detection, and works together with the camera’s new EOS iTR (Intelligent Tracking and Recognition) AF.

The EOS-1D X employs a completely new imaging sensor, producing the lowest noise of any EOS digital camera to date for stunning portraiture and studio work. The new 18-megapixel full-frame CMOS sensor utilizes large pixels – 1.25 microns larger than those in the EOS-1D Mark IV sensor and .55 microns larger than those in the EOS 5D Mark II sensor – together with gapless microlenses to achieve enhanced light gathering efficiency, higher sensitivity and less noise at the pixel level. The new sensor has improved on the already very high signal-to-noise ratio of sensor output of earlier EOS models for outstanding image quality, even in extremely low light. When combined with the Dual DIGIC 5+ imaging processors the results are stunning. The images produced with the EOS-1D X camera’s new sensor are so clean that files can easily be up-sized if necessary for even the most demanding high-resolution commercial applications. The EOS-1D X will also feature new Ultrasonic Wave Motion Cleaning (UWMC), Canon’s second generation self-cleaning sensor unit, which utilizes carrier wave technology to remove smaller dust particles from the sensor and it includes a new fluorine coating on the infrared absorption glass to help repel dust.

The low-light capability of the EOS-1D X is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.

New 61-Point High Density Reticular AF
The EOS-1D X includes a brand new 61-Point High Density Reticular AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on the lens in use. The center five points are also high-precision diagonal cross-type points for maximum apertures as small as f/2.8. All 61 points are sensitive to horizontal contrast with maximum apertures as small as f/5.6 and 20 of the outer focusing points function as cross-type points with maximum apertures as small as f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low light sensitivity, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

Similar to the AF point selection options offered in the EOS 7D Digital SLR camera, the EOS-1D X offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection. (See image below AF point selection options.)

EOS iTR AF: Intelligent Tracking and Recognition Enhances AF Performance
The Canon EOS-1D X features incredible new EOS iTR (Intelligent Tracking and Recognition) AF options ideal for wedding and event photography as well as sports and photojournalism. The default AF mode for the EOS-1D X uses phase detection AF information, while a new second option uses Face Detection technology to track recognized faces in addition to color information, ideal when shooting events such as tennis or dancing where facial recognition of the original subject will help keep that person in focus throughout the scene.

Exposure Control
For the first time in a Canon DSLR camera, a DIGIC processor is used exclusively with the metering sensor for fast, accurate exposure control. The Canon DIGIC 4 processor takes advantage of the EOS-1D X’s 100,000-pixel RGB Metering Sensor and utilizes 252 zones for general metering or 35 zones for low-light metering to help ensure accurate evaluative ambient or flash exposure. The new subject recognition capabilities enhance nearly all of the camera’s automatic functions, helping to adjust exposure, autofocus, Auto Lighting Optimizer and Automatic Picture Style to the scene being captured for enhanced image quality.

Multiple Exposure Modes
The EOS-1D X is the first EOS Digital SLR to feature Multiple Exposure capability. The camera can combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS-1D X’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image.

Super High Speed Mode
The Canon EOS-1D X camera breaks new ground in the world of digital SLRs, offering a Super High Speed Mode which increases shooting speeds up to 14 fps at full 18-megapixel resolution in JPEG mode*1. The new camera is also capable of shooting RAW, JPEG, or RAW+JPEG at speeds up to 12 fps in One Shot AF or AI Servo AF for enhanced performance in sports photography and other applications requiring high-speed digital capture. This new level of performance is made possible by the combination of the EOS-1D X’s 16-channel readout CMOS sensor, Dual DIGIC 5+ image processors, and a completely new reflex mirror mechanism that has been engineered by Canon to combine high-performance with exceptional precision and reliability.

Enhanced EOS HD Video – New Compressions, Longer Recording
Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work. The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow. Answering the requests of cinematographers and filmmakers, the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.

Canon’s all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.

The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.

Enhanced Ergonomics & Optimized Design
Photographers familiar with Canon’s EOS 1D-series of cameras will notice the control configuration of the EOS-1D X takes a different approach to button placement. The re-designed exterior and ergonomic button configuration feels comfortable in your right hand, allowing seamless navigation through menu options.

The Live View Button has been conveniently placed near the user’s thumb for one-touch switching between Live View and Viewfinder shooting. The Quick Control Button and menu navigation controls will allow users to change camera settings using only their right hand, for fast, simple one-handed control using their thumb on the scroll wheel. The new multi-controller is positioned by the right hand thumb when the camera is held for vertical shooting and enables the same level of control to camera operators when shooting vertically as they have when shooting horizontally. On the front of the camera are four user assignable function buttons, two for vertical shooting and two for horizontal shooting, allowing customizable button control when shooting in either position. The camera also features a level of weather resistance equivalent to earlier professional models such as the EOS-1D Mark IV.

Canon has answered the request of many professional EOS photographers and incorporated Dual Card Slots into the new EOS-1D X DSLR camera. The dual CF card slots will allow photographers to carry only one memory card format and still achieve instant image back-ups and enhanced storage capacity.

This camera also features a new shutter design with even greater durability and precision. Rated to 400,000 cycles, the new carbon fiber shutter blades are more lightweight and durable, allowing the EOS-1D X to achieve over 100,000 cycles more than the shutter of the EOS-1D Mark IV. A new shutter motion and new motor help further reduce vibration in the camera. The EOS-1D X also features an electronic first curtain, new to the EOS-1D series DSLRs, for minimal in-camera vibration during image capture.

Connectivity
For professional photographers who prefer a wired workflow and transfer system, Canon has included a built-in LAN connection in the EOS-1D X DSLR. The built-in LAN connection features a gigabit Ethernet Jack capable of 1000BASE-T transmission speeds, offering photographers a stable wired connection for ultra-fast data transmission. If the network were to go down, the camera will attempt to resend images until the files are sent. The EOS-1D X also features a direct image transfer function whereby images can be selected for transfer, and only sent once a LAN or USB connection is established.

Accessories
Designed exclusively for the EOS-1D X, the new Canon WFT-E6A Wireless File Transmitter* features wireless LAN support for 802.11n network transfer rates providing users with increased communication speed when compared to previous models. With this new dust and weather resistant model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS-1D X also offers an optional Canon GP-E1 GPS Receiver*, which can be easily integrated into the camera’s body. Powered by the camera, this GPS receiver provides the same weatherproof resistance as the EOS-1D X, even at the connector. With an electronic compass on-board, the GP-E1 will log movement – latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. The receiver will also record camera direction when shooting, even when shooting vertically.

Pricing and Availability
The Canon EOS-1D X Digital SLR camera is scheduled for March 2012 availability and will be sold in a body-only configuration at an estimated retail price of $6,800.00. The compact, lightweight WFT-E6A Wireless File Transmitter is scheduled to be available in March 2012 and have an estimated retail price of $600. Availability for the GP-E1 GPS receiver is expected in April 2012 with an estimated retail price of $300.

*1 Super High Speed Continuous shooting at 14 fps requires mirror lock and JPEG mode at ISO speeds less than 32000.”

The Tokina AT-X 16-28mm F2.8 Pro FX is a wide-angle lens made for the large sensor fullframe camera and to rival the superb Nikon 14-24mm f/2.8G ED AF-S NIKKOR and the Canon EF 16-35mm f/2.8L II USM as a third-party lens that gives more bang for the buck. Lets find out.

Right from get go you´ll notice how large a wide-angle lens this really is. Much like the Nikon 14-24mm f/2.8G ED AF-S NIKKOR the Tokina AT-X 16-28mm F2.8 Pro FX weighs a hefty 950+ grams much heavier than the Canon equivalent. And as the aforementioned Nikon the Tokina does not features a filter thread due to the huge convex front element that’s protruding the lens almost beyond the edge of the lens hood.
Speaking of the lens hood it’s not removable but nor do you need to remove as it would only lead to scratches on the front element.

The build quality of the Tokina AT-X 16-28mm F2.8 Pro FX is pretty good. Oddly it features a slightly lighter and thinner coating than the previously reviewed Tokina 100mm f/2.8 AT-X M100 AF Pro D Macro. It gives you an impression of a lesser expansive lens that it really is. Overall you have no doubt that it is a really sturdy lens and the big front lens certainly helps that impression.

Similar to the  Tokina 100mm f/2.8 AT-X M100 AF Pro D Macro the autofocus switch is quick and a joy to use. It’s kinda manual focus override system where the focus ring is enabled by pulling it towards the camera body. Whenever you want to switch to auto-focus just push the ring forward again and of you go. Speaking of the focus ring it’s wide and rubberized and requires almost no force to use. In order to focus across the distance scale takes a quarter of a turn, which makes it quick to manual focus.
The zoom ring is equally rubberized and positioned much closer to the body. Unfortunately it’s not as wide as you would like it to be but not too small either.

Due to the huge convex front element (for a wide-angle that is) the lens doesn’t take filter nor any other accessories using regular threads as there are none. That means if you want to use a circular polarizor or a ND filter you’ll have to get a filter holder system like the ones from Cokin. The Nikon 14-24mm f/2.8G ED AF-S NIKKOR shares this “feature” while the Canon EF 16-35mm f/2.8L II USM features regular 82mm threads.

And the million dollar question would be. How sharp is it especially against the immediate competition. Shooting with Canon bodies I have no options the test the famous Nikon 14-24mm f/2.8G ED AF-S NIKKOR so my comparison would only be against the Canon EF 16-35mm f/2.8L II USM .
The aforementioned Nikon lens is very well regarded as one of the greatest wide angles lenses ever made and I think the Tokina AT-X 16-28mm F2.8 Pro FX isn’t going to change that.

Versus the Canon EF 16-35mm f/2.8L II USM it’s a different mater. I used both a 1d series as well as a 7D on this lens and while the differences are minor of the APS-C sized Canon 7D, the larger sensor 1D body enlarges the differences. Both are sharp wide open center the Tokina AT-X 16-28mm F2.8 Pro FX is sharper in the corners. I stopped it down to F8 to get a larger depth of field and found the lens is very sharp from corner to corner with almost no achromatic abbreviation. That being said the lens performs excellent from F5.6. – The Canon EF 16-35mm f/2.8L II USM has a different look to it with files more vibrant as well as with more contrast. It’s up to you which look you prefer.

Downloadable samples straight from RAW files (right click and choose save as..)
Sample 1
Sample 2

Conclusion

Without a doubt the Tokina AT-X 16-28mm F2.8 Pro FX is a superb lens. That especially true on larger sensor bodies and I think on a 5D or similar sized this lens would shine even more. Sure the zoom ring as well as range could be larger, the front element perhaps should take filters but in the end the reward is a superb image quality. The Tokina AT-X 16-28mm F2.8 Pro FX is sharp pretty much throughout the range and with neutral colors.
Overall probably one of the best wide-angle lens choices for Canon and a great choice for Nikon.