These are the best Tokina zoom lenses when you want compact weight, crisp optics, reliable AF/mechanics, and sensible ranges for landscapes, architecture, travel, events, stage, and hybrid video—and here’s what to look for as you buy: prioritize rectilinear designs with strong edge performance at working apertures (ƒ4–ƒ8), coatings that resist ghosting around sunstars and stage LEDs, minimal focus breathing if you film, close-focus for foreground drama and detail B-roll, and builds that balance on gimbals/shoulder rigs; if you’re on mirrorless, pick native E/Z/RF mounts where offered or adapt EF/F with a solid adapter; favor consistent front diameters so one slim VND (and a light CPL used sparingly) covers the kit, and look for parfocal behavior on cine zooms. Full-frame stills workhorses: AT-X 16–28mm ƒ2.8 (classic, fast UWA with disciplined corners stopped a touch—great for interiors and blue-hour city), atx-i 17–35mm ƒ4 (lighter, threaded front, honest flare control—a travel/landscape value pick), AT-X 24–70mm ƒ2.8 FX (agency-grade mid-range with prime-like look and stout build), and atx-i 100–400mm ƒ4.5–6.3 FF (surprisingly light reach for compressed landscapes, wildlife, and stage). APS-C standouts: atx-m 11–18mm ƒ2.8 (native mirrorless UWA—bright, compact, gimbal-friendly), atx-i 11–20mm ƒ2.8 CF (legendary sharpness and speed for tight rooms and astro), atx-i 11–16mm ƒ2.8 CF (budget speed king), and 12–28mm ƒ4 DX (one-lens range with a threaded front—handy for travel/documentary). Specialty zooms to consider: AT-X 14–20mm ƒ2 DX (APS-C “fast UWA” with gorgeous night rendering) and a creative fisheye option (AT-X/atx-i 10–17mm) for dramatic 180° looks when the brief calls. Cine-leaning Tokina choices (Super35) with matched mechanics: Cinema 11–20mm T2.9 (parfocal, low breathing, 95 mm fronts—interiors and gimbals), Cinema 25–75mm T2.9 (compact A-cam mid-range, close focus, same gear spacing), and Cinema 50–135mm T2.9 MK II (tight coverage for dialogue and stage—parfocal, low breathing); these three form a color-matched, balance-consistent zoom spine for production. Practical buyer tips: build a two-zoom spine that fits your work—FF stills (16–28/2.8 + 24–70/2.8 or 17–35/4 + 100–400), APS-C hybrid (11–20/2.8 + 12–28/4), or S35 cine (11–20 T2.9 + 25–75 T2.9, add 50–135 T2.9 for reach); standardize filter sizes on threaded lenses, pack a slim VND for 180°-shutter video and a gentle CPL for water/glass (use lightly to avoid blotchy skies), and test breathing/parfocality on your body before gigs; if adapting, pick a rock-solid EF/F adapter with positive lock and no play. Zoom-shooting tips: level horizons and leave margin to crop, work at ƒ5.6–ƒ8 for plane sharpness (push to ƒ11 for deep scenes, mind diffraction), get close to foregrounds for depth and lead lines, bracket to hold windows and stage highlights, and keep hoods on to tame veiling flare; for sports/stage, start around 1/1000–1/2000 s and raise ISO rather than let motion smear; for video, lock a 180° shutter with a quality VND, enable breathing compensation when available, prefer internal-focus designs for easy gimbal balance, and keep moves deliberate; whether you’re tracing cathedral aisles, composing blue-hour skylines, covering weddings and stage shows, or building a compact cine rig, the best Tokina zooms combine disciplined optics, practical ranges, and trustworthy handling—so your lines stay straight, your corners stay clean, and your images look polished straight off the card.