These are the best Tokina lenses for landscape photography when you want rectilinear lines, crisp corners, disciplined flare, and rich micro-contrast for mountains, coasts, forests, deserts, and city skylines—and here’s what to look for as you buy: prioritize ultra-wide to short-tele coverage with low native distortion and strong edge performance around ƒ5.6–ƒ11, coatings that suppress veiling/ghosting near sunstars, even field curvature, close-focus for foreground drama, and weather-sensible builds that hike well; for video, pick lenses with minimal breathing and compact barrels that balance on gimbals, and favor threaded fronts when you’ll use CPL/ND (bulbous fronts need alternate filtration). Full-frame heroes: AT-X 16–28mm ƒ2.8 (classic fast UWA—huge FoV, great flare control; stop a touch for corner discipline), atx-i 17–35mm ƒ4 (lighter, threaded front, honest rendering—value travel/landscape pick), AT-X 24–70mm ƒ2.8 FX (agency-grade mid-range with prime-like look for stitched vistas and twilight cityscapes), atx-i 100–400mm ƒ4.5–6.3 FF (surprisingly light reach for compressed ridgelines, distant layers, and wildlife you meet on the trail), and FiRIN 20mm ƒ2 FE (AF or MF)—a bright prime for blue hour, astro-landscapes, and environmental context with smooth MF for video pulls. APS-C standouts: atx-i 11–20mm ƒ2.8 CF (bright UWA with tidy edges and excellent close-focus for foreground rocks/flowers), atx-i 11–16mm ƒ2.8 CF (legendary sharpness and speed—budget astro/landscape classic), and 12–28mm ƒ4 DX (one-lens range for travel/documentary with a threaded front for CPL/ND); for stylized ultra-wide looks, add SZ 8mm ƒ2.8 (APS-C fisheye) sparingly for dramatic curvature you can “de-fish” if needed. Cine-leaning option: Tokina Cinema 11–20mm T2.9 (Super35—parfocal, low breathing, matched 95 mm front; a gimbal/slider favorite for establishing shots) that pairs cleanly with Cinema 25–75/50–135 for full coverage. Practical buyer tips: build a two-zoom spine (FF: 16–28/2.8 + 24–70/2.8 or 17–35/4 + 100–400; APS-C: 11–20/2.8 + 12–28/4) and add FiRIN 20/2 if you want speed for astro/blue hour; standardize filter sizes on threaded lenses with step-ups so one quality CPL (use lightly to avoid blotchy skies) and a 3/6/10-stop ND set cover the kit; if you film, test breathing and balance on your body, and favor internal-focus designs for gimbals. Landscape shooting tips: time golden/blue hour for balanced sky/land, level horizons and leave margin to crop, work at ƒ5.6–ƒ8 for plane sharpness (push to ƒ11 for deep scenes, mind diffraction beyond), get close to foregrounds for depth and lead lines, bracket exposures to hold clouds and shadows, use ND for 1–60 s water/cloud motion, and a CPL sparingly to control glare on foliage/rock while watching uneven polarizations in wide skies; for astro, start near wide open at ISO 3200–6400 and focus via magnification on a bright star; for video, hold a 180° shutter with a good VND, enable breathing compensation when available, and keep moves slow; whether you’re tracing alpine glow, carving tidal textures, threading slot canyons, or composing blue-hour skylines, the best Tokina landscape choices combine disciplined optics, practical handling, and trustworthy rendering—so your lines stay straight, your corners stay clean, and your scenes feel big, bright, and alive.