These are the best Tokina wide-angle lenses when you want compact weight, crisp corners, controlled flare, and honest color for landscapes, architecture, interiors, travel, astro, and gimbal work—and here’s what to look for as you buy: prioritize rectilinear designs with strong edge performance around ƒ5.6–ƒ11, coatings that suppress veiling and ghosting around sunstars, minimal focus breathing if you film, short minimum focus for foreground drama, and sensible filter compatibility (flat fronts for screw-ins; bulbous fronts need rear or no filters); weather sealing and consistent front diameters speed real-world shoots, and light barrels balance better on sliders and gimbals. Full-frame heroes: AT-X 16–28mm ƒ2.8 (classic fast UWA—huge field of view, disciplined corners stopped a touch; bulbous front, so plan filtration), atx-i 17–35mm ƒ4 (lighter, threaded front, excellent value for travel/landscape, reliable flare control), and FiRIN 20mm ƒ2 FE (AF or MF)—a bright, sharp prime for blue-hour cityscapes, astro, and environmental work with smooth MF for video. APS-C standouts: atx-i 11–20mm ƒ2.8 CF (bright UWA with tidy edge behavior and great close focus—tight interiors and night streets), atx-i 11–16mm ƒ2.8 CF (legendary sharpness and speed for budget rigs and astro), and 12–28mm ƒ4 DX (one-lens range for travel/documentary with respectable corners and a threaded front for CPL/ND). Cine-leaning option: Tokina Cinema 11–20mm T2.9 (Super35—parfocal, low breathing, matched 95 mm front, beautiful mechanics for gimbal/shoulder builds); pairs cleanly with Tokina Cinema 25–75/50–135 for complete coverage. Fisheye/fun add-on for ultra-wide looks: SZ 8mm ƒ2.8 (APS-C) or SZ 10mm ƒ2.8 (FF circular) when you want dramatic 180°—use sparingly for creative sets. Practical buyer tips: build a two-lens spine (FF: 16–28/2.8 + 17–35/4 or 20 mm prime; APS-C: 11–20/2.8 + 12–28/4) and add FiRIN 20/2 for speed; 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 cover the kit; if you need video first, favor the 11–20/2.8 CF or Cinema 11–20 T2.9 for low breathing and stable balance; test each lens against sun and city lights for ghosting before big trips. Wide-angle shooting tips: level horizons and leave margin to crop, work around ƒ5.6–ƒ8 for plane sharpness (push to ƒ11 for deep scenes, mind diffraction beyond), get close to foregrounds for depth and use leading lines to the subject, bracket exposures to hold skies and dark interiors, and use a CPL sparingly to keep water/foliage reflections without blotching the sky; for astro, start near wide open with ISO 3200–6400 and focus via magnification on a bright star; for video, keep a 180° shutter with a VND, enable breathing compensation when available, favor internal-focus designs for gimbals, and keep moves slow; whether you’re tracing cathedral aisles, composing blue-hour skylines, squeezing tiny hotel rooms, or carving ridgelines at dawn, the best Tokina wide-angle 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.