Samsung continues to build out a lens arsenal for its NX system, and the 16–50mm f/2–2.8 ED OIS is the first in the high-end S-series line. With an equivalent focal length of a 24–77mm, this lens offers a pro-level build quality with a fast maximum aperture.

In hand, it is fairly hefty, weighing in at 1.43 pounds. The body is made of metal and the front element takes a 72mm filter. When zoomed out to 16mm, the lens is just under 4 inches in length, and at 50mm, 5 inches. The zoom ring is rubberized and well-sized; the focus ring turns in both directions past infinity.

We used it on an NX20 and found it to be a bit too big for the camera, though on an NX1 it should feel about right. In the field, the lens suffered from zoom creep from time to time. The AF proved extremely fast and quiet. The focus ring is well damped and turns smoothly.

In the lab, the Samsung scored Excellent SQF ratings at all tested focal lengths (16, 35, and 50mm). This category of lenses is known for testing well. We compared the Samsung to the Nikon 17–50mm f/2.8G, Sigma 17–50mm f/2.8 OS, Tamron 17–50mm f/2.8 VC, and APS Pentax 16–50mm f/2.8; all of these lenses churned out comparable SQF numbers.

The Samsung also tested well in DxO Analyzer 5.3, with only Visible barrel distortion at 16mm (0.41%) and Imperceptible pincushioning at 35mm and 50mm (0.07% and 0.09%). This is again on par with the rest.

In our light falloff test the lens really began to shine, besting the others at all focal lengths and displaying vignetting only at 16mm, gone by f/2.5. Its maximum magnification ratio at 16mm was 1:10.4, at 35mm, 1:5.23, and at 50mm 1:4.44—solid numbers, and you guessed it, on par with the rest.

It gave us a total of 2.75 stops of shutter speed advantage, while the Tamron offered 2 and the Sigma offered 1.75 (the Nikon and Pentax have no built-in IS).

This lens is well built and optically on par with or better than comparable glass. Plus, it maintains f/2 to 18mm, hits f/2.2 at 20mm, f/2.5 at 24mm, and f/2.8 at 35mm. That alone is pretty impressive. Add in class-leading image stabilization, and you have a winner.

SPECIFICATIONS

16–50mm: (17.11–49.99mm tested), f/2–2.8 (f/2.12–2.99 tested), 18 elements in 12 groups. Focus ring turns 90 degrees. Zoom ring turns 80 degrees. Focal length marked at 16-, 20-, 24-, 28-, 35-, and 50mm.

Diagonal View Angle: 82–31 degrees

Weight: 1.43 lbs Filter size: 72mm

Mounts: Samsung NX

Included: Lenshood

Street Price: $1,133

Website: samsung.com

TEST RESULTS

Distortion: At 16mm, 0.41% (Visible) barrel; at 35mm, 0.07% (Imperceptible) pincushion; at 50mm, 0.09% (Imperceptible) pincushion

Light Falloff: At 16mm, gone by f/2.5; at 35mm, none; at 50mm, none

Close-focusing Distance: 10.66 inches

**Maximum Magnification Ratio: **At 16mm, 1:10.4; at 35mm, 1:5.23; 
at 50mm, 1:4.44

Image Stabilization: 2.75 stops

The post Lens Test: Samsung 16-50mm f/2-2.8 ED OIS S lens appeared first on Popular Photography.

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The 70–200mm is one of the most popular telephoto zooms for amateurs and pros alike. Add today’s robust image-stabilization technology, and suddenly f/4 zooms are more than just a budget alternative to f/2.8s. Tokina’s first crack at a stabilized full-frame version comes with a lot of promise. Available for the time being only in a Nikon mount, this new Tokina, at $1,099 (street), costs a full $300 less than Nikon’s original. But is it as good?

The new lens is a bit heavier than competing 70–200mm f/4 lenses from other makers, weighing about 4.5 ounces more than the Nikkor and 7.5 ounces more than the comparable Canon. Conversely, the Tokina is the shortest of the bunch, but only by a hair. All three take 67mm threaded filters.

Handsome and ergonomically well designed, the lens sports three nicely sized rubberized rings—the one around the base of the barrel aids in mounting and removing the lens from a camera body. The focus ring turns smoothly past infinity; the zoom ring, which has a pleasing tooth, turns a total of 80 degrees. Focal lengths are clearly marked. A switch on the barrel sets autofocus and manual; another toggles VCM (vibration correction module), Tokina’s name for IS. These switches were very stiff when we first got the lens but loosened up over the course of our testing.

In the field we used this Tokina on a Nikon D4 and found the shooting experience equal to using the comparable Nikkor. AF was silent and incredibly snappy, even in low light. We didn’t notice the added weight.

On our lab’s optical test bench, the Tokina logged Excellent-range SQF scores for sharpness and contrast at 70mm and 135mm, and a Very Good at 200mm. This is on par with the Nikon, which similarly slipped to Very Good at 200mm; the Canon received an Excellent rating at all focal lengths.

In our distortion tests using DxO Analyzer 5.3, the Tokina edged out its competition. It showed Slight barrel distortion (0.20%) at 70mm as well as Slight pincushion distortion at 135mm (0.18%) and 200mm (0.25%). That’s a tad more at 70mm than the Nikon and Canon equivalents, but a tad less at 135mm and 200mm.

The Tokina matched the Nikkor in vignetting control and performed slightly better than the Canon. Close-focusing was a similar story, with the Tokina and Nikon again neck and neck (the Nikkor goes down to 38.04 inches, the Tokina to 38.45), and both well ahead of the Canon’s 45.5 inches. The Tokina also beat its rivals in magnification at the longest focal length, with a ratio of 1:3.21 versus 1:3.25 for the Nikon and 1:4.35 for the Canon.

Considering that this is Tokina’s first lens with any kind of stabilization, its engineers deserve a pat on the back. Their lens performed as well as the Nikon, giving our testers an average of 2.75 stops of extra hand-holdablity—though the Canon is the real winner here, with a whopping 3.75 stops.

This lens marks an exciting direction for Tokina. Having for quite some time been overshadowed by other third-party lens makers that jumped into the image-stabilization game long ago (hello, Sigma and Tamron), Tokina proves with this new 70–200mm f/4 that it can take on the big boys, and even beat them, at a lower price. From our testing, your only major sacrifice in picking this lens over the Nikon version is a bigger tax write-off for your investment in glass.

SPECIFICATIONS

70–200mm: (71.21–200.02mm tested), f/4 (f/4.61 tested), 19 elements in 14 groups. Focus ring turns 180 degrees. Zoom ring turns 80 degrees. Focal length marked at 70-, 85-, 105-, 135-, and 200mm.

Diagonal view angle: 34–12 degrees

Weight: 2.29 lbs

Filter size: 67mm

Mounts: Nikon AF Included: Lenshood

Street price: $1,099

Website: kenkotokinausa.com

TEST RESULTS

Distortion: At 70mm, 0.20% (Slight) barrel; at 135mm, 0.18% (Slight) pincushion; at 200mm, 0.25% (Slight) pincushion

Light falloff: Gone by f/5 at all three tested focal lengths

Close-focusing distance: 38.45 inches

**Maximum magnification ratio: **At 70mm, 1:8.66; at 135mm, 1:4.56; 
at 200mm, 1:3.21

Image Stabilization: 2.75 stops

The post Lens Test: Tokina 70–200MM F/4 AT-X PRO FX VCM-S appeared first on Popular Photography.

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