The kit lenses you get with DSLRs generally have one or more failings. They’re usually quite sharp, perhaps because that’s the first thing users test, but they typically suffer from fair amounts of distortion and chromatic aberration. The variable maximum aperture means that at longer focal lengths you are shooting at smaller apertures, hence slower shutter speeds, and they often have rotating front elements and weak focusing rings that put you off using filters and manual focus respectively. Some big-name makers even give us plastic lens mounts.

The Tokina is a more up-market alternative. It doesn’t offer any spectacular improvements in any single respect, but it does bring subtly increased quality and versatility in many areas.

The first is the zoom range. It’s pretty modest, topping out at 50mm (75mm equivalent), but it does go wider than the average kit zoom, and at 16mm it’s closer to a 25mm lens

than the usual 28mm. This doesn’t sound much, but it does make a significant difference, as does the constant f2.8 maximum aperture – and this is mostly what you’re paying for here. At short focal lengths you get to shoot at f2.8 rather than f3.5, which is only a half-stop difference, but at 50mm you can still shoot at f2.8, where most kit zooms are down to f5.6. That’s very significant – it’s a two-stop advantage. Just as useful is the fact that you can calculate manual exposures irrespective of focal length – you don’t have to keep re-calculating based on the maximum aperture that's available.

The constant maximum aperture means this lens is quite big and heavy compared to a regular ‘kit’ zoom. Inside, a higher grade of optics adds to the weight and the price – and the improvement in quality is definitely worth having.

Over the Nikon 18-70mm lens we tested it against the Tokina was much more consistent, maintaining high sharpness levels even at its maximum focal length.

Interestingly, it wasn’t particularly sharp at full aperture. For best performance you need to stop down to f4, where it’s much crisper, or even f5.6, which is where it hits its stride. This does seem typical of wide, constant-aperture zooms, and can be considered a characteristic rather than a flaw. Bear in mind, too, that at these apertures depth of field is minimal, and while we try to eliminate variations in the test camera’s autofocus system, they can’t be ruled out.

The Tokina does show a high level of aberration control, though. There was some barrel distortion at the wide-angle end of the zoom range and some pincushion at the long end, but both were at lower levels than you’d expect from a kit lens. There was also a little chromatic aberration at the extreme wide-angle end, but this diminished as the focal length increased and was gone by the telephoto end of the zoom range.

This is a nice lens to use, with a good build and smooth controls. Optically it does a good job, though distortion and fringing aren’t banished completely. While it may seem expensive, you’ve also got to consider the costs of the alternatives – Nikon’s 17-55mm f2.8 is over £800.

Final Verdict The slightly wider angle of view, constant f2.8 maximum aperture and overall optical and build quality are worth having 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.