|Production status:||● In production|
|Original name:||Nikon AF-S TELECONVERTER TC-14E III 1.4x|
|System:||● Nikon F (1959)|
|Maximum format:||35mm full frame|
|Lens construction:||7 elements - 4 groups|
|Maximum diameter x Length:||⌀64×24.5mm|
|Weather sealing:||Dust-proof and water-resistant barrel|
|Fluorine coating:||Front and rear elements|
MELVILLE, NY (May 14, 2014 at 12:01 A.M. EDT) –Today, Nikon Inc. announced the new AF-S NIKKOR 400mm f/2.8E FL ED VR lens and AF-S Teleconverter TC-14E III, engineered to give professional and passionate photographers optical excellence and exceptional telephoto capabilities. The new 400mm f/2.8 lens is lighter and more durable than its acclaimed predecessor, inviting professional and passionate shooters to capture the thrill of sports, action and wildlife with staggering clarity and precision, even in challenging light. The new TC-14 E III Teleconverter is an ideal companion for many NIKKOR telephoto lenses, offering users a focal length boost while maintaining clarity and sharpness.
“The new AF-S NIKKOR 400mm f/2.8E FL ED VR has been evolved to meet the needs of today’s sports, wildlife and multi-media photographers, well beyond the premier precision optics; it is much lighter, and has well thought-out controls and features that aid in creating super-sharp images even from extreme distances,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “Together with the AF-S Teleconverter TC-14E III, the new 400mm lens and many other NIKKOR lenses will help photographers go the distance to get their shot.”
The New AF-S NIKKOR 400mm f/2.8E FL ED VR: Superior Optics, Superb Handling
The new 400mm f/2.8 super-telephoto lens delivers upon the NIKKOR promise of uncompromising performance, thanks to overall enhancements to the optical characteristics of the lens, which go beyond simply enhancing image quality. With a refined optical formula, those who shoot fast action sports from a distance or rapidly moving wildlife will appreciate the improved autofocus (AF), exposure accuracy and speed. The lens now contains two fluorite elements that, together with two Extra-Low Dispersion (ED) glass elements and Nano Crystal Coat, helps ensure outstanding performance with minimal chromatic aberration and flaring. The internal construction of the lens comprises 16 elements in 12 groups, and features an electromagnetic diaphragm, similar to that employed in the AF-S NIKKOR 800mm f/5.6 lens. Denoted by the “E” designation, this feature allows for stable exposures during high speed shooting, such as the 11 frames-per-second (fps) possible with the Nikon D4S HD-SLR. Additionally, the lens employs a nine-blade rounded diaphragm that creates a circular, natural looking out of focus area – a requirement for action and wildlife shooters who need clear separation between the subject and the background.
The refined construction of this lens has additional benefits, creating a beautifully balanced instrument for professionals that is nearly two full pounds (816 grams) lighter than its predecessor, tempting the user to shoot handheld when needed. Whether trackside or courtside, photographers will value Nikon’s Vibration Reduction (VR) technology with up to four stops of image stabilization*, and the addition of the new VR Sport Mode. When shooting action, especially on a monopod, the VR Sport Mode recognizes a panning motion to provide accurate compensation for camera shake, resulting in super-sharp images, with motion blur where the photographer intended. For working in challenging environments, the lens features a protective front meniscus element with a fluorine coating, which resists dirt and moisture on the front of the lens. Other pro-minded features include the addition of a rotating tripod collar for seamless switching between compositions, and buttons on the lens barrel compatible with the new AF functions of the Nikon D4S.
AF-S Teleconverter TC-14E III
Nikon’s long legacy and expertise in optical engineering is substantiated with this new 1.4x teleconverter that retains the lens’ image quality, even at wide-open apertures. This new teleconverter effectively multiplies the focal length of many NIKKOR lenses by 1.4x, while resulting in only a one-stop loss of exposure. Especially useful for nature and sports photographers, the enhanced optical system reduces chromatic lens aberration, while preserving the accuracy of the AF system.
The construction of the teleconverter has been significantly upgraded for both durability and optical brilliance. Comprised of seven elements within four groups, the outer elements feature a fluorine coating for enhanced resistance to dirt and water droplets. For added durability, the lens barrel has been designed for increased moisture and dust resistance.
Increase the reach of compatible AF-S NIKKOR lenses like the AF-S NIKKOR 400mm f/2.8E FL ED VR or the AF-S NIKKOR 70-200mm f/2.8G ED VR without sacrificing image quality, autofocus accuracy, metering or even VR image stabilization. Optimized for sports, action, wildlife and press photographers, the AF-S Teleconverter TC-14E III achieves superb 1.4x enlargement with only a 1-stop loss of light. Fluorine coatings protect the front and rear surfaces, and a durable lens barrel with water-drop resistance ensures the AF-S Teleconverter TC-14E III can hold up to professional use. Maximize the performance and reach of your NIKKOR lens.
The AF-S Teleconverter TC-14E III increases the reach of compatible AF-S lenses by 40% with only a 1-stop loss of light. Turn the AF-S NIKKOR 70–200mm f/2.8G ED VR into a 98–280mm f/4 lens or the AF-S NIKKOR 400mm f/2.8E FL ED VR into a 560mm f/4 lens. Enjoy the speed, performance and lightness of smaller telephoto lenses with the reach of a super-telephoto lens.
The AF-S Teleconverter TC-14E III features an optical design that draws peak performance from compatible AF-S NIKKOR lenses, including fast primes and zoom lenses. Enjoy stunning depiction—nearly the same image quality that a lens alone produces—outstanding autofocus accuracy, full metering performance and even VR image stabilization.
If you shoot sports, action or wildlife, you know landing great shots sometimes means getting dirty. The AF-S Teleconverter TC-14E III is designed to be as rugged as the lenses it modifies. Fluorine coatings on the front and rear surfaces repel dirt and water droplets for clear views and easy removal, and the durable lens barrel also provides dust- and water-droplet resistance.
Lenses compatible with the TC-14E II, but incompatible with the AF-S TELECONVERTER TC-14E III:
Because the maximum aperture coupling ridge and minimum aperture signal post are eliminated with the AF-S TELECONVERTER TC-14E III, “FEE” is displayed on the camera body when these lenses are used, disabling shooting.
|Nikon AF-S NIKKOR 70-200mm F/4G ED VR • ⌀67||Pro||2012 ●|
|Nikon AF-S NIKKOR 70-200mm F/2.8G IF-ED VR • ⌀77||Pro||2002 ●|
|Nikon AF-S NIKKOR 70-200mm F/2.8G ED VR II • ⌀77||Pro||2009 ●|
|Nikon AF-S NIKKOR 70-200mm F/2.8E FL ED VR • ⌀77||Pro||2016 ●|
|Nikon AF-S NIKKOR 80-400mm F/4.5-5.6G ED VR • ⌀77||Pro||2013 ●|
|Nikon AF-S Micro-NIKKOR 105mm F/2.8G IF-ED VR • ⌀62 • 1:1 @ CFD 0.314m||Pro||2006 ●|
|Nikon AF-S NIKKOR 120-300mm F/2.8E FL ED SR VR • ⌀112||Pro||2020 ●|
|Nikon AF-S NIKKOR 180-400mm F/4E TC1.4 FL ED VR||Pro||2018 ●|
|Nikon AF-S NIKKOR 200mm F/2G ED-IF VR||Pro||2004 ●|
|Nikon AF-S NIKKOR 200mm F/2G ED VR II||Pro||2010 ●|
|Nikon AF-S NIKKOR 200-400mm F/4G IF-ED VR||Pro||2003 ●|
|Nikon AF-S NIKKOR 200-400mm F/4G ED VR II||Pro||2010 ●|
|Nikon AF-S NIKKOR 200-500mm F/5.6E ED VR • ⌀95||Pro||2015 ●|
|Nikon AF-S NIKKOR 300mm F/4E PF ED VR • ⌀77||Pro||2015 ●|
|Nikon AF-S NIKKOR 300mm F/2.8G ED-IF VR||Pro||2004 ●|
|Nikon AF-S NIKKOR 300mm F/2.8G ED VR II||Pro||2009 ●|
|Nikon AF-S NIKKOR 400mm F/2.8G ED VR||Pro||2007 ●|
|Nikon AF-S NIKKOR 400mm F/2.8E FL ED VR||Pro||2014 ●|
|Nikon AF-S NIKKOR 500mm F/5.6E PF ED VR • ⌀95||Pro||2018 ●|
|Nikon AF-S NIKKOR 500mm F/4G ED VR||Pro||2007 ●|
|Nikon AF-S NIKKOR 500mm F/4E FL ED VR||Pro||2015 ●|
|Nikon AF-S NIKKOR 600mm F/4G ED VR||Pro||2007 ●|
|Nikon AF-S NIKKOR 800mm F/5.6E FL ED VR||Pro||2013 ●|
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Cannot compare the lens to itself.
A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.
The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.
Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.
Format refers to the shape and size of film or image sensor.
35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.
APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.
Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).
Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.
As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.
A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).
This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),
CF – crop-factor of a sensor,
FL – focal length of a lens.
A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.
A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.
Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.
The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.
Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.
Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.
Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.
The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.
The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.
In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.
The diaphragm must be stopped down manually by rotating the detent aperture ring.
The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.
The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/ on this lens, and cannot be adjusted.
As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.
Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.
At maximum aperture, the opening will be circular regardless of the number of blades.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
For lenses with collapsible design, the length is indicated for the working (retracted) state.
A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.
Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.
Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.
The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.
Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.
Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.
Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.
Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.
Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.