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Andrew Reid

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Hey guys, I just wanted to share a quick report on some new gear I have obtained:

  • Sigma 18-35mm f1.8 (£550)
  • Tokina AT-X 80-200mm f2.8 (£250)
  • Camdiox Focal Reducer (Nikon to Micro Four Thirds) (£72)







When the postman delivered them was the first time I had seen either lens in real life. Both of them feel very nice in hand and look great. Pictures just don't do them justice. The Tokina is all metal, which makes it feel particularly nice.


The Camdiox adapter feels pretty nice too. The aperture control is very smooth and is clickless, which I hear many video people like - though personally I have yet to find a purpose for that. The throw of the ring is a short 30 degrees (or around that).


The Tokina's focus ring, when turned, rotates and moves forward the entire front barrel. So using it with a follow focus is impossible.


Neither lenses are parfocal, although the Tokina is superior to the Sigma in this regard. For such a long lens you would think the focus shift would be higher.


Both lenses have about a 90 degree focus throw. And the rings on the Sigma have more resistance than on the Tokina. And in both cases, the focus rings are smoother than the zoom rings - as to be expected. I do wish the Sigma's focus ring was smoother though. One fantastic thing about both lenses is that neither of them elongate when you change the focal length!


The Sigma is around 850g heavy and the Tokina is 1.25kg. The Camdiox is about 150g. In practice, I would not handhold the Tokina but I would the Sigma. In fact it does not feel all that different to when I used to use the 17-50mm f2.8 with my Nikon d5200.


The Camdiox's rear element can be rotated to allow you to adjust focus. I had to do this in order to achieve infinity focus. Unfortunately there are no markings or intelligible way to figure out how much to rotate it by. Luckily for me I got it right the first time.




With the lenses adapted, the performance is quite good. I have not used the lenses without a focal reducer so I can't say how they compare, but there is no noticeable vignetting and the CA is fairly well controlled (although definitely apparent when viewing 100%). The Tokina in particular impressed me because I have used several vintage lenses and they all have been prone to flaring, but this lens stays strong. The haze of the sun is only somewhat apparent and things stay contrasty.


The blue spot problem does exist with the adapter, but it's really not at all distracting. it's not an opaque spot, but rather a very soft and faint blurred disc. The disc also appears on super bright light sources like the sun, not street lights.


Both lenses are sharp enough wide open that I am able to find focus without too much trouble using the GH3's viewfinder (which btw I'm finding far superior to the GX7 and the NEX 6 I had before it).



Tokina 80-200mm f2.8 D mounted on Panasonic GH3 via Camdiox Focal Reducer.
First image 80mm, second image 200mm.
ISO 800. Auto WB. No iDynamic. Neutral PP -3 -5 -2 -5.
Might have missed focus on the third shot.
No sharpening has been applied and Vimeo makes video look softer than it is.


Some photos straight out of camera. Lenses wide open. First two Tokina, second two Sigma. Click to enlarge.









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the Tokina AT-X PRO 80-200mm is all internal focus and all internal zoom so great for follow focus as nothing extends and its a better lens sharper too as its newer , its still Nikon Mount so your adaptor will work with it .

Its a Killer lens the AT-X Pro version almost on a par with the Nikon  80-200mm f2.8 (the Bourne Lens) which is the best you can get thats why its used on Hollywood films.(Casion Royale, Captain Phillips , Green Zone etc etc)

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Im sure its a good lens stopped down to f5.6 ish its soft and blooms at 2.8 , its just you have paid top price for it at £250 quid,

you can get the AT-X Pro version for that price on ebay



the version you have is about £90 on the bay




while we are on about Tokina's THE LENS TO GET is the Angenieux designed Tokina AT-X PRO 28-70mm f2.6-2.8

all metal all internal zoom all internal focus so matt box fits on the end all ok .

Stellar lens I have 2 and its a real work horse I use alot superb bokeh and narrow dof on MFT ,

I use it on a Lens Turbo Zhyongi speedbooster which makes it an approx  20-50 f1.6 insane bokeh zoom !!

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Carl Zeiss Vario-Sonnar 28-70mm f3.5-4.5 T* Contax C/Y mount




Carl Zeiss Vario-Sonnar 24-85mm f3.5-4.5 T* Contax N mount



stunning very sharp lenses modern Zeiss Glass at its very best - superb colours and rich blacks - these lenses are the closest you can get to Carl Zeiss PL Mount Cinema glass without spending 15k on one lens


I have 2 of each so I've decided to sell one set .

Great on GH4 ...4K and Zeiss glass ! = way cool !

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not a chance! focal reducers will not work on APSC cameras , flange / mount distance is the problem


Just to clarify/be pedantic, focal reducers can be used on mirrorless APS-C cameras (e.g. Sony a6000), but any camera with a mirror (such as the Rebel series) cannot accommodate a focal reducer.

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not a chance! focal reducers will not work on APSC cameras , flange / mount distance is the problem


The problem is not the flange-focal distance, as Sony E-mount and Canon EOSM (EF-M) mounts have very short flange-focal distances (18mm), yet ASP-C sensors are offered with Canon EF-M mounts and full frame/ASP-C sensors are offered in E-mount.


The flange-focal distance for micro 4/3 mount is longer than that of the EF-M mount and E-mount -- micro 4/3 is 19.25mm


Indeed, there are plenty of E-mount focal reducers.  Don't know how they work with APS-C sensors.  My guess is that there would be some vignetting/softness in the corners of the frame.  I seem to recall that someone posted some test shots in this forum a while back.


Alas, there seems to be no focal reducers for the EF-M mount.


So, I would guess that the problem is incorporating an optical element in the focal reducer that is large enough to fully cover ASP-C/Super-35 sensors.

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i'm looking for a couple of s16 format (or suitable for) lens suggestions. I need super fast primes as I do a lot of low light and available light, pref c-mount or PL.


Looking for a good lens in the 10-13mm range and another lens in 17-20mm range.


Having trouble finding anything decent and affordable. The computar 12mm is a turd in low light as the flares and internal reflections are like a discoball.


S16 options are pretty woeful, almost ready to sell my car and buy a set of superspeeds.




Thank you!

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If you're US based, you can rent some Optar Illuminas in PL mount from lensrentals.com.  They have half the set, IIRC.  Made for s16, T1.3 and the 8mm doesn't vignette like the Zeiss... Had I a BMPCC, I'd certainly be renting these.


Edit: Just checked their site, they have the 8mm, 9.5mm and 12mm...

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the Tokina is very good it has character and the Angenieux design so it has that classic look to it very cinematic , The Nikon is also very good but more modern clean looking good  contrast and slightly sharper but not much when wide open , both work very well on speedboosters making then very fast zooms

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The Tokina is what I call a Classic Cinema lens it has that Angenieux look to it , it has no aspheric elements so it is not quite as sharp as the Nikon when wide open at f2.8 - BUT it does have a superb look to this lens the drop off Bokeh is great and I do like the way it looks wide open at f2.8 Im using it on a Zhiongy Lens Turbo so it is in fact sharpening up the lens at f2.8 so Im not noticing anything too soft there its a nice look - Angenieux know what they are doing with zoom lens designs and this lens IS parfocal , internal zooming internal focusing , all metal construction no plastic , built like a tank , Arri matte box sits on the end of the lens on my rig all works fine.

I just shot 4 days straight with this lens shooting Playboy type glamour videos for a US client , it makes skin look very nice when wide open at f2.8 on a speedbooster so its around f1.8 in reality


The Nikon is a great lens is a different way it has a very clean look , nice blacks and colours , is very sharp wide open at f2.8 so great for fast low light sharp shots , BUT is is not parfocal so I use it as a big fast vari focal prime , its is big and heavy it does extend when zooming about 2.5 cm , it focuses internally , but it has a look this is very nice you can see why it was used on so many big movies like Bourne Ultimatum etc it is very clean neutral looking.

It has very very little focus breathing at all , practically zero ! which is amazing , it breaths less than the £15k Carl Zeiss 28-76mm cinema lens , so I think that makes it popular with the Directors that use it alot like Paul Greengrass


Both lenses need rigs they are big and heavy


the Sigma is a new 'clean modern lens, so the Nikon will cut well with it , but in reality you can make the Tokina fit too , use a speedbooster and stop down 1 stop to f4 (speedbooster makes this f2.8 in reality) the Tokina sharpens up a whole bunch by just stopping down this 1 stop from f2.8  to f4

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Hey Andy,

RE: The Tokina, how the hell do you tell the different versions apart? I think i've got it, but it's just not entirely clear, as there are so many different versions. So the Angenieux version (Pro 1) has a 77mm thread & has a screw-in hood, whilst the Pro 2 version has a bayonet hood? Is this right?


Please don't say google it, as that just brings up every version...

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yes correct,

I have the version 1 77mm screw on thread, thats the one to get as it is 100% Angenieux design before Tokina started messing with it , avoid the SV (SPECIAL VALUE ) version as its far removed from the Angenieux design . I also have the Version 2 with bayonet hood front ,I use as a spare and I cannot tell any differance optically , so I do think Version 2 is also Angenieux design they just added a more fashionable bayonet hood mount as all other makers where doing that at that time , after version 2 it all goes a bit pear shaped as to exactly what Tokina did do the element groupings and adding aspheric elements and if they are still parfocal .....


this is the best read on the subject


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