This new version of Tokina’s 12-24mm super wideangle lens incorporates an autofocus motor in its Nikon version, so it’s now compatible with Nikon cameras which don’t have a motor in the body, including the D40/D40x and D60. Tokina says it’s also improved the lens coatings, which should reduce flare and increase contrast. Otherwise, this lens appears very similar to the original Tokina 12-24mm which we reviewed in issue 78.

This time we tested the Canon version on an EOS 400D body, so there are some differences in the results. Like last time, though, the resolution is very good, even at maximum aperture, and there’s not much difference with focal length changes. Definition is starting to drop off at f11 and f16, but this is to be expected as diffraction effects from the smaller apertures start to take hold.

There is quite a lot of chromatic aberration at the widest focal lengths, though this does diminish with longer zoom settings and there’s not much at all at 24mm. The distortion levels aren’t that high for a lens with this angle of view. As you’d expect, there’s some fairly obvious barrel distortion at the wide end of the zoom range, and this swaps over to mild pincushioning at the long end.

Despite Tokina’s modifications to the lens coatings, the 12-24mm does seem quite susceptible to flare when shooting into the light, so it might be a good idea to use the petal-shaped lens hood which comes with it as a matter of routine.

Where most zooms have a variable maximum aperture across the zoom range, this one has a fixed f4 maximum, which is generally a sign of a good-quality lens, and it certain makes manual exposure adjustments easier because the same range of apertures is available at all focal lengths.

By current standards, though, this lens’s 2x zoom range isn’t particularly strong. Once you’ve applied a 1.6x focal factor (this is a digital-only lens, by the way), it works out at around 19-38mm. Tamron’s 10-24mm offers the equivalent of 16-38mm, and it’s cheaper too. The difference between 19mm and 16mm might not sound much, but it is actually quite noticeable, so while the Tokina does perform well, it’s not the widest lens you can get for your DSLR.

The finish and handling are good, though. Just because it’s a third-partly lens, that doesn’t mean you shouldn’t expect top build quality, and this lens is just as well made as any own-brand lenses from Nikon, Canon and the rest. The zoom movement is smooth, with no tight spots or changes in gearing, and the manual focus action is equally good.

There’s no full-time manual focus override on this lens, though. You can turn the focus ring in AF mode, but nothing happens. Instead, the lens has a kind of ‘clutch’ mechanism unique to Tokina, where you pull back the focus ring to swap to manual mode. It’s quick and straightforward, though if you have other lenses with a standard AF/MF switch you will have to re-adjust each time you swap lenses.

The limited zoom range is one stumbling block with this lens, but the price is probably the main one. It’s more expensive than the Sigma 10-24mm and Tamron 10-24mm, both of which go usefully wider. It’s well worth considering, then, but so are its rivals.

Final Verdict The Tokina’s not the widest super-wideangle – some rivals go to 10mm. But it is a sharp, well-made lens, and cheaper than the makers’ own offerings. OVERALL

Our lens reviewer, and technical expert, Rod is a veritable photographic encyclopaedia. His illustrious CV has seen him write for many mags, websites and journals.