Super-telephoto lenses are typically large, unwieldy, and expensive pieces of technology. They can easily run you upwards of $12,000 and weigh more than five pounds. But Japanese lens maker Tokina aims to change all that and has announced three new ultra-compact super-telephoto lenses via an IndieGoGo campaign.

The three lenses are part of the company’s new SZ PRO lineup and include the SZ 300mmPRO Reflex F7.1 MF CF, SZ 600mmPRO Reflex F8 MF CF, and SZ 900mmPRO Reflex F11 MF CF. All three lenses are fully manual lenses with a catadioptric-type optical design, typically called reflex or mirror lenses. Tokina designed these exclusively for Sony E, Canon EF-M, and Fujifilm X mounts on APS-C cameras.

What is a mirror lens?

It’s not surprising if you haven’t heard of mirror lenses before. While companies have made them in the past, existing camera technology made them very difficult to use. As a result, they weren’t very common. But, as camera technology has drastically improved, specifically “better sensor performance, larger ISO ranges, and image stabilization and focus assist features,” according to Tokina, mirror lenses are now a feasible option.

The catadioptric system used in mirror lenses is the same type of technology used in NASA’s Hubble Space Telescope and James Webb Space Telescope. In traditional lenses, light enters the front element and goes straight to the image sensor in the camera. But in mirror lenses, light enters the front element, bounces off two mirrors, and then reaches the sensor. Because the light is “folded” twice, “the focal length shortens, which allows for a smaller lens design,” Tokina explains. Thus, the benefit of this type of lens is that a much smaller and lighter lens size is possible compared to standard lenses. They are also much more affordable, making it possible for those other than high-end pros to experience super-telephoto reach.

There are two downsides to mirror lenses, however. First, the bokeh takes on a donut shape. Some may like the look, but it does take some getting used to and isn’t for everyone. And second, they are manual focus only. New mirrorless cameras make achieving accurate manual focus easier than before, but they still may not be the best choice for some. But, if you don’t mind focusing manually and like (or can grow to like) the donut bokeh, then they may be an ideal way to get a super-telephoto.

Tokina compact super-telephoto lens details

SZ 300mmPRO Reflex F7.1 MF CF

Tokina’s new 300mm lens weighs a shockingly paltry 8.3 ounces. The lens is also only 2.9 inches long. That’s shorter than a 12-ounce coffee cup and is plenty small to put in a pocket.

Since it is designed for APS-C cameras, it will provide a 35mm equivalent focal length of 400mm on Sony and Fujifilm cameras and 480mm on Canon cameras. The lens features a 46mm filter thread and a close-focusing distance of three feet. It also offers a macro ratio of 1/2.5.

SZ 600mmPRO Reflex F8 MF CF

The next step up in the trio is a 600mm lens. It weighs only 1.2 pounds and measures just 4.9 inches long. It provides a 35mm equivalent of 960mm on Canon APS-C cameras or 900mm on Sony and Fujifilm.

This lens offers a 77mm front filter size and a 34mm rear filter. It also delivers a 1/2.5 macro ratio and can focus as close as 5.75 feet inches.

SZ 900mmPRO Reflex F11 MF CF

The last lens in the lineup is the 900mm. It weighs a meager 1.6 pounds and is only 6.6 inches long. Its 35mm equivalent focal length is 1,350mm on Sony and Fujifilm or 1,440 on Canon. That provides a lot of reach in a very tiny body, which makes wildlife photography much more approachable.

The lens utilizes 86mm filters. Like the other two, it provides a 1.2.5 macro ratio, but the 900mm can only focus as close as 8.5 feet.

Pricing & availability

All three lenses are available for purchase via Tokina’s IndieGoGo. The 300mmPRO Reflex F7.1 MF CF costs $425 for all three mounts. The SZ 600mmPRO Reflex F8 MF CF is priced at $638 for all three mounts. And lastly, the SZ 900mmPRO Reflex F11 MF CF is $744. All of the lenses are currently 20% off as well, so if you’ve been thinking about a super-telephoto, or want to get a gift for a photographer you know, now is a great time to make the purchase. Just be aware that they are all estimated to ship in January of 2023, so you won’t have it in hand for Christmas.

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2022 looks set to be a good year for fans of mirror lenses. Last month, Japan’s Kenko Tokina announced the Kenko Mirror Lens 400mm f/8 N II, a refresh of its relatively recent 2020-model 400mm f/8 optic. Now, it’s following up with a 500mm f/8 prime that will give you even more telephoto reach for not much more heft.

Like last month’s reveal, the Tokina SZ Super Tele 500mm f/8 Reflex MF is a Japanese-made mirror lens. Set to ship in February, it’s likely to be very affordable (pricing info has yet to be revealed) and offer a lot of reach in a very small package. The lens will be available for a wide range of camera mounts, but its portability will come at the expense of some image quality as well as rather divisive donut-shaped bokeh. It also has a fixed-aperture, manual focus design.

Unlike last month’s 400mm, this isn’t a refresh of a recent lens. It’s been a while since Kenko Tokina has offered a 500mm mirror optic, although the company did sell several different 500mm f/6.3 and f/8 mirror options back in the analog era. 

The eagle-eyed amongst you will have picked up on the fact that the new lens only bears the Tokina badge, whereas last month’s 400mm prime is instead being sold only under the Kenko name. The 500mm is also referred to as a reflex lens, whereas the 400mm is called a mirror lens, making for extremely inconsistent branding between two products that would both seem aimed at the same customer base.

What is a mirror lens?

For those who aren’t already familiar with mirror lenses, you’ll also hear them referred to as reflex or catadioptric lenses. In essence, they’re more akin to a telescope than a more typical telephoto lens.

Their compact size is achieved by folding the optical path back on itself repeatedly within the lens. The first fold is caused by a mirror towards the rear of the lens which redirects the light back forwards and focuses it on a second mirror that sits behind the center of the front lens element. This, in turn, redirects incoming light back through a hole in the center of the first mirror and onwards toward the camera’s image sensor.

Image quality tends to be better in some respects but worse in others

This design allows for a much shorter, lighter lens than would otherwise be possible with a more traditional lens design. It also makes for a much more affordable optic, since creating mirrored glass elements is a much less complex process than molding and polishing refractive elements for a traditional lens.

Mirror lenses also tend to show much lower levels of chromatic and off-axis optical aberrations than refractive lenses. That’s due to the light being reflected off each mirrored surface rather than passing through them. This reduces opportunities for different wavelengths of light to be refracted differently.

The technique does, however, bring with it some disadvantages as well. First, mirror lenses are almost always focused manually. (One of the only exceptions is the Sony/Minolta AF Reflex 500mm f/8 lens.) They also tend to have lower levels of sharpness and contrast, compared to refractive optics, although post-processing can certainly help level the field a bit.

Doughnut-shaped bokeh can prove fun or frustrating

Perhaps the image quality concern that stands out the most with mirror lenses is their doughnut-shaped bokeh. Caused by the mirror behind the front lens element, the effect can give a business even to backgrounds with moderately high contrast. It’s particularly noticeable where you have strong specular highlights, which are rendered as bright, crisp doughnuts.

With the right subject, it can be an eye-catching and attractive trait. With the wrong one, though, it can be very distracting, drawing your attention away from your intended subject and onto the background.

A fixed aperture also means no DOF control and more limited exposure control

One other important difference to note from a traditional refractive lens is that mirror lenses don’t offer adjustable apertures. What you see on the label is what you get in terms of aperture, and so there’s no control available over depth-of-field. Also, exposure control must be performed solely using the shutter speed and ISO sensitivity.

Who’s it for?

The primary target customer for the Tokina SZ 500mm f/8 will be photographers who’re looking to bring smaller, more distant subjects right up close, and who need to prioritize portability and cost over image quality.

That likely makes it of particular interest to enthusiastic amateurs wanting to shoot subjects like wildlife and sports. If your subjects will be varying in distance significantly, though, the lack of autofocus is quickly going to prove tiresome. You’ll thus want to consider the behavior of your particular subjects. There’s also some potential for light macro work or occasional portrait use.

Higher-end users who want the crispest-possible results and can afford the added cost and heft will want to look at a refractive lens instead. They still might want to pick up a lens like this for the artistic potential of its doughnut bokeh, though.

There’s really no name-brand competition for this lens

As for the competition, these days there’s not a lot of it. Mirror lenses used to be relatively easy to find even amongst the lens stock of first-party manufacturers, but that’s no longer the case. You will, however, find other 500mm f/8 mirror lenses available from brands Bower and Opteka. (Both also have 500mm f/6.3 units as well, which Tokina thus far lacks.)

Like the Bower and Opteka models, the Tokina 500mm uses a standard T-mount design, which allows it to be converted for use with a wide range of camera mounts. Interestingly, the size and weight of the Bower and Opteka lenses are close enough to be indistinguishable from that of the Tokina, which is 3.5-inches long, 2.9-inches wide, and weighs just 10.9 ounces (without an adapter attached). Both rivals are priced around the $100 mark without a T-mount adapter, suggesting the ballpark we should be expecting Tokina to hit. (Or given its greater brand recognition, perhaps aim a little above.)

Similarly far-reaching refractive lenses are far bigger and more expensive

It’s trickier to draw parallels against traditional refractive lenses because Tokina’s specs don’t include the size and weight of the required T-mount adapters, which vary significantly between mounts. (And unfortunately, the specs for the Kenko 400mm f/8 are only provided with a Canon EF-mount adapter attached, likewise stymieing direct comparisons.)

With that said, though, even remembering that you need to account for the weight of the adapter, it’s clear that mirror lenses are far cheaper, lighter, and smaller, than traditional lenses. By way of example, Nikon’s AF-S 500mm f/5.6E PF ED VR lens for DSLRs costs $3,600 and weighs close to five times as much. It’s also quite a bit larger.

Optical formula

Tokina doesn’t state the optical compositions of the individual elements in the lens, but the company does say that it has included elements with multi-coatings. The lens has a 72mm filter thread upfront and accepts 30.5mm filters at the rear, just like its Opteka rival. The Bower, meanwhile, only has the rear filter support.

The 500mm f/8 mirror lens can focus at a minimum distance of 5.6 feet (1.7m). At this distance, it yields a maximum magnification of 1:2.86 or 0.35x.

A lens hood is included in the product bundle, but sadly it’s a screw-in type. We far prefer bayonet hoods as they’re quicker and easier to mount and can usually be stored neatly on the barrel in reverse. They also typically play better with filters and lens caps.

Price and availability

The Tokina SZ Super Tele 500mm f/8 Reflex MF goes on sale on February 18, 2022. Pricing for the new lens had not yet been disclosed at press time. The lens is available standalone as a T-mount optic for folks who already have the necessary adapter(s) for their gear. If not, six different bundles are available that include both the lens and the requisite adapter for Canon EF, Fujifilm X, Micro Four Thirds, Nikon F or Z, and Sony E-mounts.

Interestingly, Tokina’s site makes no mention of the Canon EF-M or Pentax K-mounts, even though the company sells T-mount adapters for both. Of course, T-mount adapters are available for far more mounts than just these. Tokina itself also offers Nikon 1 and Four-Thirds adapters, and third parties offer even more. So the range of mounts with which this lens can be used is extremely broad indeed.

Watch this space for more info on pricing as we hear it! More details can be found on the Tokina website.

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Tokina has a new crop-sensor mirrorless lens, joining the manual focus 33mm f/1.2 launched this spring. This time, though, it’s an autofocus-capable zoom. Say hello to the new Tokina atx-m 11-18mm f/2.8 E for Sony E-mount APS-C bodies. It’s the brand’s first wide-angle zoom built specifically for mirrorless cameras. Let’s take a closer look.

Who’s the Tokina 11-18mm f/2.8 for?

Priced at $699, the Tokina 11-18mm f/2.8 is a direct competitor to the similarly-priced Tamron 11-20mm f/2.8 zoom, which is itself a competitor to the Sony 10-18mm f/4. The latter is also priced at $699 and obviously slower than the other two, though it does offer a similar focal range in a smaller package.

On a Sony crop sensor body, like the vlogging-centric ZV-E10 or the ever-popular Sony a6000, the Tokina 11-18mm f/2.8 provides a 17-27mm equivalent field of view. This makes it a fantastic option for a range of uses, including landscapes, starscapes, architecture, interiors, street photography, and more.

Weighing just under 12 ounces, it should also work nicely as a lightweight, wide-angle solution for vlogging or general video use. Though, no word from Tokina on how it stands up to focus breathing (a phenomenon in which the lens’ field of view changes as you focus).

Optics & design

Optically, the Tokina 11-18mm f/2.8 has 13 elements arranged in 11 groups. This includes two aspherical and two super low-dispersion (SD) glass elements, both employed to crush chromatic aberrations and other optical uglies. An impressive 7.5-inch minimum focus distance should allow for up-close shots and use in close quarters. And the 9-bladed aperture should hopefully lead to some quality, rounded bokeh balls.

Speaking of aperture, it ranges from f/2.8 to f/22. Up front, you’ll find a 67mm filter thread. Footprint-wise, the lens is 2.9 inches in both length and width, which makes it a bit shorter than the Tamron but right around the same diameter and weight.

Autofocus & other features

Autofocus is powered by a stepping motor (STM). These tend to be snappy and responsive but can also be a tad noisy; we’ll withhold opinions until we use one.

Tokina says the lens will play nice with Sony’s fantastic Eye AF feature, which is a major plus. And when used in manual focus mode, it’ll work with Sony’s bevy of focus aides. It should also communicate image stabilization info to the camera body—though it has no IS itself. Finally, the new lens offers a Micro-USB port at the base for firmware updates.

Price, availability & other mounts

Priced at $699, the Tokina 11-18mm f/2.8 will be available later this week, though you can preorder it now. It comes with a lens hood and a two-year warranty.

No word yet on whether will see an X-mount version for Fujifilm but we’d certainly welcome one.

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It’s proving to be quite a busy year for Japanese lens maker Tokina. It’s already launched a new 500mm f/8 mirror lens, an 8mm f/2.8 fisheye, a 2x extender to bundle with its existing 400mm f/8 mirror lens, and a T-mount to Canon EF-M mount adapter. Now it’s followed up with its fifth new product in as many months. Say hello to the new Tokina SZ 33mm f/1.2 lens for subframe Sony E- and Fujifilm X-mount cameras. It’s a brighter and more affordable alternative to the brand’s 33mm f/1.4 prime. The catch? You’ll need to put up with a lot more bulk and fewer modern conveniences.

Who’s it for?

Tokina seems to be placing its bets on video shooters or those who need both still/video capability in particular, as it has opted for a clickless aperture ring and is emphasizing features like suitability for follow-focus and moderate focus breathing in its marketing materials.

With that said, it’s also courting still shooters who favor manual controls. And thanks to its normal 50mm-equivalent focal length and bright f/1.2 maximum aperture, this lens could have applications from full-length or half-length portraits and weddings to landscape, street, travel, and astrophotography in particular.

Build quality

The Tokina SZ 33mm f/1.2 has a smooth and sleek barrel encircled by two control rings and unencumbered by any other physical controls. The front ring caters to focus adjustment and has a long 160-degree throw which should make precise focus adjustments easier but will make quick-yet-smooth shifts in focus trickier, which could be a hindrance for video.

Like the earlier atx-m 33mm f/1.4, the barrel and control rings are made from an unspecified metal. Thanks to its brighter aperture, the new lens is both bigger and much heavier than the f/1.4 variant. With a length of 3.4 inches and a 2.8-inch barrel diameter, it’s about 0.6 inches longer and 0.2 inches wider than the earlier lens. The weight has more than doubled from just 10.1 ounces to 21.3 ounces, a difference that’s likely due in large part to the large front element.

Optical design

While the front element is much more sizable, the overall optical formula has decreased in complexity a little. The earlier atx-m f/1.4 lens has 10 elements in nine groups, but the new SZ f/1.2 optic now has just nine elements in seven groups.

Tokina doesn’t list any exotic glass formulations or element types, but it does note that the large front element has allowed it to minimize vignetting. The company is also promising high contrast and resolution.

Aperture

Looking to make the most of that f/1.2 maximum aperture, Tokina has increased the number of aperture blades used from nine in the earlier f/1.4 lens to 11 in the new f/1.2 lens. That difference should show itself in two ways: A rounder edge to bokeh from point light sources, especially when stopped down a little, as well as by adding more points to sunstars.

As noted previously, the aperture must be controlled entirely manually and Tokina has opted for a clickless design. That’s great for video as it allows for smooth aperture shifts which can help keep exposure in the ballpark or be used for creative effects.

Focus

Focus too is entirely manual. But unlike the f/1.4 version, the new f/1.2 model uses a telescoping focus design (i.e. the barrel gets longer/shorter while focusing). This style of design can lead to air (and potentially dust) being pumped through the barrel as you make focus adjustments.

Depth-of-field and hyperfocal scales are included, and Tokina says the lens’ design is also conducive to use with follow focus gear. Although the minimum focusing distance has increased from 15.7 inches in the f/1.4 lens to 19.7 inches in the f/1.2, the maximum magnification is unchanged at 0.1x (1:10).

Pricing and availability

Available from June 17th, the Tokina SZ 33mm f/1.2 is currently listed on Tokina USA’s website for $379 in both E-mount and X-mount versions. That represents a very minimal savings of just $20 over the $399 atx-m 33mm f/1.4 for Sony E-mount shooters, but Fujifilm X-mount shooters will see a healthier $50 savings over their variant of the earlier lens which currently sells for $429.

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Meet the new Tokina SZ 8mm f/2.8 fisheye lens for APS-C mirrorless cameras. Offering a 180-degree field of view, this new lens ships mid-March and will be available in Fujifilm X-mount and Sony APS-C E-mount. Pricing is forthcoming.

Who’s it for?

Related: How the fisheye became a staple in the music industry

This manual focus lens features a click-less aperture and focuses as close as 4 inches. On APS-C cameras it offers a focal length equivalent to 12mm in full-frame terms. Tokina is marketing it to a wide range of users, from landscape photographers to architecture shooters, vloggers/filmmakers to pet photographers.

Frankly, all of these use cases sound like potentially good candidates for the fisheye look—the close focus will certainly allow for some pretty neat compositions and the 180-degree field of view will surely result in unique distortion. Video shooters working in tight locations will definitely benefit from the compact size of this lens. And the f/2.8 maximum aperture should still allow for some nice subject separation.

We could also see this being a great option for skateboard and music photography, the latter, again, given its reasonably fast f/2.8 aperture. And we’d be remiss not to mention the fact that the 1990s—an era when just about every MTV music video featured at least one fisheye shot— are back in vogue. So Tokina’s timing with this release couldn’t be more perfect.

Build quality & optics

The Tokina 8mm fisheye is just over 2-inches long and weighs 9.9 ounces. Its optical construction includes 11 elements in nine groups, with a 7-blade diaphragm and apertures ranging from f/2.8 to f/22. There’s is no front filter thread, but a detachable lens hood will be included. Tokina says the glass elements feature multi-coating to help improve optical performance.

Price & availability

Tokina’s SZ 8mm f/2.8 fisheye is expected to be able from March 15th. We’ll update this story with pricing info when it becomes available.

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