These are the best Tokina options if you specifically want image stabilization when you’re shooting handheld in low light, at telephoto, or for smoother video—and here’s the honest reality: Tokina has produced very few lenses with built-in optical stabilization, so most of their modern mirrorless glass relies on your camera’s IBIS (in-body stabilization), support rigs, or careful technique; prioritize bodies with strong IBIS if you’re building a Tokina kit, look for lenses with balanced weight and short minimum focus distance to help steady framing, and keep consistent front diameters so one slim VND (video) and a gentle diffusion filter (⅛–¼) cover the set. The one true Tokina OIS telephoto standout: AT-X 70–200mm ƒ4 VCM-S (Nikon F)—a stabilized, sharp, well-balanced court/field portrait zoom with effective VR-class damping and quick AF that adapts nicely to mirrorless via a quality FTZ-style adapter; if you shoot sports or events on Nikon DSLRs or adapted Nikon bodies, this is the Tokina to get for optical stabilization. Everything else in the Tokina lineup is effectively “IBIS-first”: full-frame stills zooms like AT-X 16–28mm ƒ2.8 and atx-i 17–35mm ƒ4 (use IBIS or a tripod for interiors/landscapes), mid-range workhorses like AT-X 24–70mm ƒ2.8 (pair with a body that has strong IBIS), and long-reach options like atx-i 100–400mm ƒ4.5–6.3 FF (light, capable—stabilize with IBIS, monopod, or higher shutter speeds); primes such as FiRIN 100mm ƒ2.8 FE Macro (1:1) and atx-m 85mm ƒ1.8 FE/56mm ƒ1.4 (Sony/Fuji) deliver crisp results—lean on IBIS for steadier handhelds and macro framing. For production work, Tokina Cinema zooms (11–20 T2.9, 25–75 T2.9, 50–135 T2.9 MK II) don’t include optical stabilization by design—use shoulder rigs, gimbals, or IBIS and appreciate their parfocal behavior, low breathing, and matched mechanics. Practical buyer tips: if you must have optical IS from Tokina, the 70–200/ƒ4 VCM-S is the play; otherwise, build an IBIS-centric kit—e.g., AT-X 16–28/2.8 + AT-X 24–70/2.8 (FF stills) or atx-i 11–20/2.8 CF + 12–28/4 (APS-C)—and add FiRIN 100 Macro for detail; standardize filter sizes with step-up rings so one VND/diffusion travels everywhere, keep an Arca plate/monopod for telephoto days, and test your body’s IBIS behavior (some modes prefer shorter or longer focal lengths). Stabilized shooting tips: set sensible shutter floors—≈1/80–1/125s for people with IBIS, faster for action—use Mode 2–style panning technique with monopods at telephoto, and raise ISO rather than let motion smear; for video, lock a 180° shutter with a good VND, let IBIS/Active do the smoothing while avoiding micro-jitter on sticks (turn stabilization off on a tripod), and favor balanced lenses for gimbals; whether you’re covering ceremonies in dim halls, tracking sideline action, or filming handheld walk-and-talks, the best way to get “Tokina + stabilization” today is a hybrid strategy—run the 70–200/ƒ4 VCM-S where optical IS matters, lean on IBIS and solid support elsewhere, and you’ll keep files sharp, footage smooth, and your kit simple.