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Tokina 11 16 canon full frame12/12/2023 ![]() This left a lot of customers looking for a lens with an extra wide field of view to bring them back to the format they were so accustomed to. Still photographers just being introduced to cinema and the Super 35 format felt they were missing something by cropping down. Crop factor was a big issue for the newcomers despite the film industry being completely fine with Super 35mm as the standard for almost a century. At the time, many shooters were getting their feet wet in the world of cinema, coming from still photography which used 24×36 Full Frame as their standard. Another reason, and possibly more important, depending on who you ask, is the crop factor of cameras. ![]() There are a few key reasons: The only other lens with this kind of focal length on the market (that didn’t cost a small fortune) was the vintage Zeiss 12mm T2.1 which was vastly inferior in almost every way to the quality of the newly designed Tokina 11-16mm. There were no active EF mounts outside of Canon’s photography cameras.Ī lot of customers asked us why we decided to go with such an odd little lens as one of our (at the time) biggest undertakings. Arri hadn’t even begun to consider the EF mount, Canon and Blackamagic weren’t in the cinema camera business, and Sony was still banking on camcorders. Keep in mind, this is back in the RED One days. It featured an electronic aperture drive which meant the only way to adjust the aperture was on a Nikon or Canon camera body. You see, the lens from Tokina lacked a few features that cinematographers required such as a manual aperture. This is where things get interesting…Īround March of 2009 a long standing client brought the lens to our shop and asked if we could bring the lens to a more cinema friendly state. It’s ultra wide angle design and fast f/2.8 aperture made it ideal for a wide range of applications (pun intended). The lens was immediately adopted by enthusiasts and professionals alike. ![]() Based on this lens, Tokina launched the AT-X 11-16mm PRO DX lens in March of 2008. Let’s start with the history of this lens which began with the success of their AT-X 12-24mm PRO DX, a new line of APS-C, auto focus lenses. ![]() I wanted to take a post here and acknowledge the original lens, it’s heritage, influence, and evolution over the past (nearly) decade. I speak often of the Duclos 11-16mm, and when I do, I always give credit to Tokina for making such a great product. In fact, I was temporarily banned from REDUser years ago for backhandedly plugging the Duclos 11-16mm conversion – breaking the rules of the forum. I’ve written about the Tokina 11-16mm many, many times. ![]()
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