终于弄到这只传说中的镜头，名不虚传。

小巧结实，做工精致，镀膜紫绿色，很漂亮，对焦手感很好。
全开光圈就非常锐，成像居然比135L还结实，实在意外。

如果做成F2就完美了。

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Vivitar的90/2.5和图丽的毫无疑问光学设计是一样的。7、80年代的Vivitar可不是后来骗钱的Vivitar，那时候它的Series 1镜头很多都是超越原厂的设计。

Vivitar版的镜头镀膜是金黄色的，金属用料比图丽的更多（也重得多）两个版本的光学表现应该没什么明显区别。

图丽那时候一直是Vivitar的代工厂之一。Vivitar这个头停产后图丽买了设计做点机械改动自己卖是很正常的。

楼上都说了

楼上都说了

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天下远游客，查一下历史和评论，Tokina的这只头和Vivitar的渊源是割不断的。听说Tokina在镀膜中用了稀土成分，所以更出色一点，不过只是听说。而Vivitar的做工要胜一筹。
请看这儿Todd最详细的评论： forums·dpreview·com/forums/readflat.asp?forum=1034&thread=13056277

我还可以找出更多的资料，但我想足够了。

// Tokina 90mm f/2.5 AT-X Macro: A Review
-----------------------------------------------------------
// Introduction

The Tokina 90mm f/2.5 AT-X macro is a twenty year-old lens that hails from the manual focus era of film cameras. The lens was released in 1986 and discontinued in 1997. The AT-X designation stands for "Advanced Technology Extra" and is normally a designation given to Tokina's zoom lenses. Tokina itself was founded by former Nikon executives and engineers who split from the optics leader to concentrate on zoom lens design.

The lens was sold both individually and with a matched optical macro converter, which Tokina refers to as the "macro extender." Without the matched converter, the lens reaches 1:2 magnification, while it achieves life-size reproduction with the accessory. In the premium set, the lens and macro converter came in a red velvet lined leather lens case.

Overall, the lens is similar in optical construction to the legendary Vivitar 90mm f/2.5 Series 1 macro. The Series 1 line was the first line by a third-party manufacturer meant to compete directly with the top lenses from Nikon, Canon, and other industry leaders. The AT-X line has its origins as Tokina's own premium offering and parallel challenge to Vivitar's Series 1.

Rumors and speculation abound as to the relation of the relation of the original Vivitar Series 1 macro lenses and the other 90mm variants the followed. Tokina representatives deny any relation between the Vivitar macro and their AT-X lens, despite identical optical formulas. Regardless, both the Vivitar and Tokina 90mm lenses achieved critical acclaim and cult status among shooters of the time.

The legacy of the Tokina and Vivitar 90mmm f/2.5 macros lives on in the excellent Tamron 90mm f/2.8 AF model macro lenses, which have gained a loyal following in their own right.

Though originally bought to compliment my manual focus lenses for film bodies, the AT-X macro lens continues to render superior quality well into the digital age.

Comparing with Tokina 90mm f/2.5 Macro
Having come late to this excellent forum, and reading Todd's superb review of the Tokina 90mm f2.5, I noted that he would like to hear from someone who has experience with a Vivitar Series 1 90mm f2.5.

I bought mine new in the 1970s and have used it ever since as perhaps the finest lens in my stable of 16 Nikkors and several 3rd-party Nikon-mount AI and subsequent lenses, AF included. Although the 90mm does not meter with the D70, that's of little importance in my work in biological photomacrography.

Some of the posts mention the origin of early Series 1 lenses, but suggest it's something of a mystery. The development of this particular legendary lens was initiated by Vivitar, a U.S. importer and distributor, but designed by Perkin Elmer, a firm that provided many early NASA optics. Actual manufacture was carried out by a number of different optical companies, including Perkin Elmer, Kiron, Olympus, Tokina and several others, some well known, some not. All had to measure up to exact specifications and, so far as is known, all were of equal quality. My lens, determined by a coded serial number, was made by Tokina in 1977.

Therein lies a possible explanation of the Tokina 90mm's origin. The Vivitar Series 1 edition ceased production in 1981, and I believe Tokina did not issue theirs until 1984. While in Todd's review he found that Tokina claimed no connection with Vivitar, their identical optical formula and quality production must surely have been a matter of something more than coincidental osmosis.

One review of the early Series 1 lenses mentions a test I also remember at the time it was published in the 1970s: that the Vivitar Series 1 90mm f2.5 "shared the honor with the illustrious Leitz Dual Range Summicron of having the highest resolution of any lenses tested by (Herbert Keppler of) Modern Photography." Another report at the time stated it had the highest resolution of any lens ever tested! No wonder Tokina wanted to get in on the action after Vivitar ceased its first Series 1 line, and they were in a perfect position to do so, having made the Vivtar lens to Perkins Elmer's exact specifications.

The quality of glass, metallurgy, and machining in the Series 1 90mm f2.5 is everything that various postings have said about the Tokina 90mm. I have a number of great lenses, but not one of them is superior in any respect to the Series 1. (I also have the famed Vivitar Series 1 90-180mm f4.5 macro zoom, originally designed for medical purposes and just as impressive as the 90mm). My 90mm is now approaching 30 years old, has traveled around the world and operated under all kinds of challenging field conditions while I worked on various National Geographic projects. But it still looks and operates like a new lens (obviously I cherish and protect it) and is just as useful with a D70 as it was with the big film SLRs, now mostly retired to a lab closet.

So I'm sure the Tokina ATX is its equivalent because I strongly suspect there is a clear relationship, whether Tokina officials today admit or remember, or not.

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laochy 楼下的，你就别胡扯了 威达的啥时候评价说和图丽的一样的？ 拿资料来看看啊。哈苏实验室评价的19只顶级，有图丽90/2,5 ,怎么没有听说过你的那只威达啊，只要用过胶卷的人都知道，当年确善能，威达一直是末流的镜头。当年的廉价神镜1号，骗了多少人。

我自己有一只90/2.5，CY口 很新。这镜头成像比较结实锐利，背景虚化能力较强。 微距镜头有这样虚化的不多。高分辨率镜头适合高像素机器，1000万以下像素的机器 配这镜头可惜了。

全开光圈可用，这镜头最小光圈居然是F32,做的很精密了。

逆光根本不会死，图丽这只镀膜非常好，暗红色，对着灯看，里面一团火一样琥珀色红。镜头阴天也颜色很好，我传一张逆光拍摄的，

唯一可惜的是，光圈再大点多好啊 呵呵 90/2 。

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我的这只是VIVITAR 90mm/f2.5，是TOKINA 90mm/f2.5的前身，因此2者一般作为同一镜头一起评价。国外评价说2者光学品质完全相同，可能镀膜不同。解像力、锐度、反差、色彩、焦外成像、对焦手感、机械结构、制造品质皆一流。微距、人像、风景都没得说。据说镀膜比较嫩。实在太好了！又很难找，因此一般不舍得多用。

解像力、锐度、反差、色彩、焦外成像、对焦手感、机械结构、制造品质皆一流。

逆光见光死。可能镀膜的缘故吧。就因为这点有一项打了4.5分。

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用过这个镜头，确实名不虚传！！！

很多

很少

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替代这个焦段顶级微距最好的镜头，图丽的经典之做．

做工好,细腻稳重,有德国工艺味道.对焦柔滑,金属镜身手感极好.镀膜漂亮通透,1:1延长镜的镀膜颜色和主镜颜色不同.成像大家都说了.对德国镜头赞美之词用它身上也不过分．

要做到1:1还需要加延长镜,比较不方便.图丽卡口的遮光罩不是很好找.据说还是塑料的，是个败笔．

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优点大家都说了，我也不多罗索，比莱卡百微还要高０．１分的廉价头，不知为什么就停产了呢？等了三，四年，上个月终于等到了一个Ｎ口的，试用后就想立马把我原有的尼康２００微和司马１８０微统统出掉，成像简直不可同日而语．

不说了，若再遇到，还要！

梦中的情人，一旦拥有，哪还顾得上谈！

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优异

焦外成像好;

1:2微距

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好,我的梦中情人何处去寻它?

没的说

没有

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