These are the best Tokina telephoto lenses when you want confident AF (or buttery MF where appropriate), strong wide-open sharpness, dependable handling, and useful reach for portraits, field sports, wildlife, stage, and compressed landscapes—and here’s what to look for as you buy: prioritize tele zooms/primes with solid wide-open contrast, effective stabilization where available (or pair with your camera’s IBIS), quick, quiet focus motors (or long, smooth throws on MF lenses), short minimum-focus distances for tighter framing from the same position, and weather-resistant builds; if you film, look for minimal focus breathing and consistent front diameters so one VND/diffusion covers the set. Full-frame mirrorless prime heroes: atx-m 85mm ƒ1.8 FE (Sony E—portrait staple with creamy separation and quick AF), FiRIN 100mm ƒ2.8 FE Macro (1:1 with generous working distance and lovely micro-contrast—doubles as a flattering tele-portrait), and the SZX 400mm ƒ8 Reflex MF (ultra-light mirror lens for travel long-reach—manual focus with distinctive doughnut bokeh; great for moon/scenic compression when you need pocketable 400 mm). DSLR/adapter-friendly tele zoom workhorses (mount EF/F, adapt to mirrorless): atx-i 100–400mm ƒ4.5–6.3 FF (surprisingly light “do-most” wildlife/sideline zoom with credible close-focus), AT-X 70–200mm ƒ4 VCM-S (Nikon F—stabilized, sharp, balanced on a monopod for courts and field), and the classic AT-X 80–400mm ƒ4.5–5.6 (budget reach that still delivers stopped modestly); specialty/fast APS-C zoom: AT-X 50–135mm ƒ2.8 DX (Canon/Nikon—portrait/stage staple with prime-like look and handy range). APS-C mirrorless tele/portrait picks: atx-m 56mm ƒ1.4 (Fuji X/Sony E—short-tele “portrait” with smooth bokeh and compact build) and atx-m 85mm ƒ1.8 (Sony E—full-frame lens that also shines on crop); add the SZX 400/8 Reflex MF in E/X/Z/RF/MFT for featherweight long shots when hiking. Cine-leaning tele for productions: Tokina Cinema 50–135mm T2.9 MK II (S35—parfocal, matched 95 mm front, low breathing—lives on a shoulder rig for dialogue and stage B-roll). Practical buyer tips: build a two-lens spine (100–400 + 70–200/ƒ4 for wildlife + courts, or 50–135/2.8 DX + 85/1.8 for portrait/stage) and add FiRIN 100 Macro for beauty/detail; if you travel light, pair atx-m 85/1.8 with SZX 400/8 for portraits + long reach in a tiny kit; when adapting DSLR glass, choose solid EF/F adapters with positive lock and test AF before paid work; standardize filter threads and keep a slim VND for video (skip CPLs for fast action—they cost light). Tele-shooting tips: for field sports start around 1/1600–1/3200 s at ƒ2.8–ƒ5.6 with AF-C/Tracking; for perched wildlife 1/800–1/1250 s with stabilization on, BIF near 1/2000–1/3200 s; pan runners/cyclists at 1/30–1/60 s and practice a Mode-2–style technique; work near wide open for isolation and raise ISO rather than let motion smear; mind heat shimmer at long distances (shoot early, get closer, or reduce magnification), keep hoods on to cut veiling flare, and brace with a monopod or beanbag for heavy setups; for video, lock a 180° shutter with a quality VND, set AF transition speed/sensitivity to taste, enable breathing compensation when available, and prefer internal-focus designs for easier gimbal balance; whether you’re freezing a dunk, isolating a deer at dusk, compressing coastal cliffs, or filming stage performances, the best Tokina telephoto choices combine practical reach, disciplined optics, and dependable handling—so your subjects stay tack-sharp, your backgrounds melt, and your keeper rate climbs.