Tokina ATX PRO 28-70mm f/2.6-2.8

Tokina ATX PRO 28-70mm f/2.6-2.8 – Is It Really an Angenieux in Disguise?

The Tokina ATX PRO 28-70mm f/2.6-2.8 is a lens that's gained a near-mythical reputation over the years. Whispered in photography forums, praised in video reviews, and sold for prices that raise an eyebrow, it's often touted as "the Tokina designed by Angenieux." But is it really? Or is this just one of those stories that grew over time into internet folklore?

I may be risking my street cred in the camera enthusiast world by questioning it, but let's dig into this lens and the supposed Angenieux connection. After weeks of research, conversations with veteran photographers, and hours spent peering through this enigmatic piece of glass, I've come to some conclusions that might surprise you—or at least give you pause before dropping serious money based on a legend.

The Hype and the Heritage

There's no doubt this lens has built a solid reputation. It's fast, sharp, beautifully built, and delivers pleasing contrast and colour. With a constant f/2.6-2.8 aperture and a useful 28-70mm focal range, it's been a popular choice for both stills and video shooters who want a versatile standard zoom with vintage charm. In an era where most zoom lenses sacrificed maximum aperture for convenience, the Tokina stood out as something special—a professional-grade tool that didn't force you to compromise.

But where things get murky is in the origin story.

You'll often hear people say it's based on or even designed by Angenieux—a legendary French optics manufacturer known for its cinematic glass. The claim seems to give the Tokina a touch of cinematic pedigree that transforms it from a capable Japanese zoom into something with European optical heritage. It's said to share some design lineage with a previous Angenieux-made lens for Nikon mounts in the 1980s. And while there might be some connection in terms of licensing or design inspiration, it's incredibly difficult to find anything concrete.

The timing certainly makes the story plausible. During the 1980s and early 1990s, the Japanese optical industry was rapidly evolving, and collaborations between Japanese and European manufacturers weren't unheard of. Sigma had partnerships with various companies, Tamron was innovating with new designs, and Tokina itself was establishing its reputation for building robust, professional-grade lenses. The idea that they might have tapped into Angenieux's expertise doesn't seem far-fetched on the surface.

A Research Rabbit Hole

I've spent the last few weeks falling down the research rabbit hole—combing through forums, archived web pages, vintage magazine clippings, and even Google Books for old issues of Practical Photographer. There are hints, vague references, and some people swearing up and down that the connection is real, but nobody seems to have an official source or direct quote from Tokina or Angenieux to confirm it.

The trail often leads to a few key pieces of "evidence" that get repeated across the internet:

First, there's the optical formula. Some claim that the 16 elements in 13 groups design bears striking similarities to certain Angenieux zoom lenses from the same era. While it's true that optical designs can show similarities—after all, physics dictates certain approaches to solving optical problems—this alone doesn't prove a direct connection.

Second, there's the build quality and design philosophy. The Tokina ATX PRO series was known for its exceptional construction, with all-metal barrels, smooth mechanical operation, and a general feeling of solidity that seemed more in line with cinema lenses than typical photography zooms. This has led some to suggest that Angenieux's cinema lens experience influenced the design.

Third, and perhaps most intriguingly, there are whispers of a licensing agreement or technology transfer that supposedly took place in the late 1980s. The story goes that Angenieux, facing financial pressures, licensed certain optical designs to Japanese manufacturers. Tokina, according to this narrative, was one of the beneficiaries. But again, concrete documentation remains elusive.

It's possible there was some sort of early collaboration or that Tokina licensed certain design elements, but we may never know the full story. The companies involved have changed hands multiple times since then—Angenieux is now part of Thales Group, while Tokina has gone through its own corporate evolution. Records from that era, if they exist, are likely buried in corporate archives that aren't accessible to the public.

Still, that hasn't stopped sellers from using the Angenieux name as a selling point, often commanding prices of £500 or more for a lens that was once a modest mid-range zoom. The mythology has become part of the lens's value proposition, whether justified or not.

Performance First, Provenance Second

Here's the thing—even if it's not directly descended from Angenieux, this lens is still excellent. Having shot with it extensively over the past month, I can attest to its optical quality and unique character. It delivers great optical quality, especially for its era, with decent sharpness wide open and fantastic results when stopped down slightly. The build quality is solid, with a reassuring heft and smooth zoom action that puts many modern lenses to shame.

What strikes me most about this lens is its rendering. There's a certain quality to the images it produces that's hard to quantify but easy to appreciate. Colors have a richness without being oversaturated, contrast is punchy without being harsh, and there's a smooth transition between in-focus and out-of-focus areas that gives images a three-dimensional quality. Whether this is due to Angenieux influence or simply excellent Japanese optical engineering, the results speak for themselves.

The bokeh deserves special mention. With eight aperture blades and a relatively fast maximum aperture throughout the zoom range, the lens produces smooth, creamy out-of-focus areas that complement subjects beautifully. It's not the clinical perfection of modern aspherical designs—there's character here, a slight swirl in certain conditions, and a gentle vignetting wide open that adds to rather than detracts from the image.

For photographers and videographers looking for a vintage lens with character, this one absolutely delivers. The constant aperture makes it particularly appealing for video work, where exposure consistency during zooms is crucial. The manual focus ring, with its long throw and precise feel, allows for smooth focus pulls that autofocus systems still struggle to match.

Just don't buy it solely for the Angenieux connection unless you're happy embracing a bit of mystery along with your glass. The lens should be evaluated on its own merits, which are considerable, rather than on unverified heritage claims.

The Market Reality

The current market for these lenses is fascinating and somewhat frustrating. Prices have climbed steadily over the past decade, driven by a combination of factors: the general trend toward vintage glass, the specific appeal to video shooters looking for character, and yes, the Angenieux mystique.

Where once these could be found for £150-200 in good condition, today you're looking at £400-600 for a clean example, with mint condition copies sometimes fetching even more. The Canon EF mount versions tend to command the highest prices, followed closely by Nikon F mount variants. The Pentax K and Minolta A mount versions, while optically identical, often sell for somewhat less due to lower demand.

This price inflation has led to an interesting phenomenon: the lens has become simultaneously more desirable and less accessible to the average photographer who might benefit from its qualities. It's particularly ironic given that this was originally positioned as a high-quality but reasonably affordable alternative to first-party options from Canon and Nikon.

Final Thoughts

Whether or not the Tokina ATX PRO 28-70mm f/2.6-2.8 was truly touched by the hand of Angenieux may remain an unsolved mystery. But in the end, its reputation is built on real-world performance, not just rumours. The lens has earned its place in many photographers' bags through delivering consistent, characterful results across a useful focal range.

What's certain is that Tokina created something special with this lens, regardless of its design origins. It represents a high point in third-party lens manufacturing, a time when companies like Tokina were pushing boundaries and creating tools that could stand alongside—and sometimes surpass—first-party options.

If you have any official information about its origins—or even a credible source that confirms or debunks the Angenieux connection—I'd love to hear from you. Leave a comment or send a link my way. The photography community thrives on shared knowledge, and solving this mystery would be a service to collectors and users alike.

Sometimes, the story behind the gear is just as interesting as the results it produces. And sometimes, as with this Tokina, the mystery itself becomes part of the appeal. Whether it's an Angenieux in disguise or simply an exceptional piece of Japanese optical engineering, the Tokina ATX PRO 28-70mm f/2.6-2.8 remains a lens worth celebrating—and using.

Tokina ATX PRO 28-70mm f/2.6-2.8 Specifications

• Focal Length: 28-70mm

• Maximum Aperture: f/2.6-2.8

• Lens Mounts Available: Nikon F, Canon EF, Pentax K, Minolta A

• Optical Design: 16 elements in 13 groups (design similarities to older Angenieux zooms have been noted)

• Minimum Focus Distance: Approximately 0.7m

• Diaphragm Blades: 8

• Filter Thread Size: 77mm

• Weight: Approx. 850g

• Build: Metal construction, internal focusing (varies by version)

• Focus Type: Manual focus with some autofocus support depending on mount

• Production Period: Late 1980s to mid-1990s

• Original MSRP: Approximately $600-800 USD (varies by region and mount)

Note: Specifications may vary slightly depending on the production batch or lens mount. Early versions featured slightly different coatings and mechanical designs compared to later production runs.