Tokina ATX-M 11-18 mm f/2.8 E
5. Chromatic and spherical aberration
Chromatic aberration
Low dispersion elements in the optical construction of the tested Tokina perform exceedingly well – the lens doesn't have any problems whasoever with longitudinal chromatic aberration. A round of applause! |
What about lateral chromatic aberration correction? Let's have a glance at the graph below that presents its levels depending on aperture values.
Please Support UsIf you enjoy our reviews and articles, and you want us to continue our work please, support our website by donating through PayPal. The funds are going to be used for paying our editorial team, renting servers, and equipping our testing studio; only that way we will be able to continue providing you interesting content for free. |
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
If you remind yourself how other wide angle Tokina lenses have dealt with lateral chromatic aberration you find out these memories are better to be forgotten. Let's face it: usually that aberration level was high and pretty bothersome at the widest angles of view.
In case of the Tokina ATX-M 11–18 mm f/2.8 E you see an improvement but the situation is far from perfect. By 11 mm the aberration is medium and near the maximum relative aperture it comes dangerously close to high levels. At 14 mm you still deal with a medium level and only at 18 mm you are able to reach the borderline between low and medium values. Overall chromatic aberration still makes itself felt but not to such an extend as in the previous optical constructions of this producer.
| A7R III, RAW, 11 mm, f/2.8 | A7R III, RAW, 18 mm, f/2.8 |
|
|
Spherical aberration
Significant depth of field, provided by the tested lens, makes it difficult to notice any 'focus shift' effect. Still, you can say spherical aberration is not corrected in a perfect way; it's enough you glance at out-of-focus circles of light we got before and behind the focus which differ from each other. It is the proof that the aberration influences images you generate near the maximum relative aperture.
| A6400, 18 mm, f/2.8, before | A6400, 18 mm, f/2.8, after |
|
|
