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Tokina AF 300mm f/4 AT-X (FX) - Review / Test Report

Tokina AF 300mm f/4 AT-X (FX) - Review / Test Report | Photography Gear News | Scoop.it

We usually focus on current lenses here at photozone, or very popular ones among the discontinued ones. However, sometimes we're offered somewhat exotic or rare lenses that out of curiosity we simply can not resist to review. One such lens is the Tokina AF 300mm f/4 AT-X (or, as it was called in the catalog, the AT-X 304AF).


Not much information is available online about this lens (it isn't even mentioned on Tokina's own web site). It was introduced in the 90's and discontinued early in the new century. Despite being very affordable compared to the OEM offerings of the time, it seems the lens was never very popular, which makes it a rare item nowadays.

One property remained, though: if you can actually find one for sale, the price is usually very low. The unit we had available for this review sold for just 200 EUR.


So, let's have a look at how the lens performs on our current FX test camera, the Nikon D3x...

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Scooped by Philippe Gassmann from Fuji X-Pro1
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Objectified | shooting products with the X-PRO1 | Patrick La Roque

Objectified | shooting products with the X-PRO1 | Patrick La Roque | Photography Gear News | Scoop.it

 

I’ve read a few reviews of the X-Pro1 dismissing its use in the studio, confining it purely to the realm of event and documentary photography. Obviously this a genre at which it excels and the core of the system’s philosophy. But as most of you know these cameras have now become my main system, not merely a fun add-on. Which means they ARE used for studio jobs. All kinds of studio jobs.

I recently did a shoot for Serdy Media, a production company which owns several specialized TV stations in Quebec — namely Zeste and Évasion, the french food and travel channels. This was a studio product shoot for their new online boutiques. After thoroughly testing the setup, I decided to again forego my Nikon kit and do the entire session using only the X-Pro1 and the 35mm Fujinon XF f/1.4 lens. It worked beautifully.

 

The X-Pro1 actually has several things going for it for this type of work:

- The ability to use the rear LCD for live view without changing how you usually work with the camera.

 

- The two zoom levels with built-in sharpening to pinpoint the focus.

 

- Large focus point coverage.

 

- Horizon line and framing guides.

 

- The ability to switch the same lens to macro mode for detail shots.

 

- No mirror to deal with. Combined with the timer function this is as stable as it gets.

 

All of this makes for a very easy going experience and allows for extremely precise work. The two points of contention when it comes to shooting this camera for studio and/or flash photography are 1) sync speed and 2) tethering. The sync speed obviously wasn’t an issue in this case. As for tethering, I’ve discussed my solution in another post already: an Eye-Fi Pro X2 card. To be honest this was definitely the weakest link in the chain, and I was very fortunate to work with a client who didn’t mind the glacial speed at which photos were getting transferred to the computer. But I didn’t like it. I made jokes about it but it bugged the hell out of me the entire time. I’m glad further testing has revealed an ad-hoc network to be exponentially faster. I won’t get caught with this problem again.


Via Thomas Menk
Jonathan Ryan's curator insight, December 12, 2012 5:08 AM

X-Pro 1 shines once again.  Beautiful to see what an accomplished photographer can do with it under controlled light.

Andrew Brown's comment, December 12, 2012 9:35 AM
used in a studio shoot and loved it also. Much better than the old 5D2's