Nikon AF-S Teleconverter TC-17E II

Teleconverter • Digital era

Production details

Announced:May 2004
Production status: In production
Original name:Nikon AF-S TELECONVERTER TC-17EII 1.7x
System: Nikon F (1959)

Specification

Optical design
Magnification factor:1.7x
Maximum format:35mm full frame
Mount:Nikon F
Lens construction:7 elements - 4 groups
Physical characteristics
Weight:250g
Maximum diameter x Length:⌀66×31.5mm
Weather sealing:-
Fluorine coating:-

*) Source of data: Manufacturer's technical data.

Manufacturer description

Amsterdam May 28th 2004: 07:00 CET: Nikon Europe today announces the introduction of a revolutionary new SLR photographic lens, the first* f/2 aperture lens to feature Vibration Reduction (VR) technology.

The AF-S VR Nikkor 200mm f/2G IF-ED heralds an exciting breakthrough in photographic performance to extend shooting opportunities beyond the limits of currently available photographic lenses.

Vibration Reduction, maximum aperture of f/2

The unique combination of an f/2 maximum aperture combined with Vibration Reduction enables new photographic opportunities in light conditions previously impossible to achieve without resorting to grainy high-speed film or noise-prone digital ISO sensitivity settings. The shallow depth of field created by the wide f/2 aperture offers a unique appearance to pictures combined with a pleasing background blur and bright viewfinder image and will find favour with photographers seeking to freeze movement with fast shutter speeds in low lighting conditions.

Vibration Reduction

When light levels get really low, VR can be activated to enable sharp available-light images of still subjects or when using flash. The AF-S VR Nikkor 200mm f/2G IF-ED is the fifth* Nikkor lens to incorporate Nikon's renowned Vibration Reduction system. The system comprises of a suspended lens element that is positioned according to data from gyroscopic sensors and that compensates for accidental vertical or horizontal movement during slow shutter exposures. The Nikon VR system can also detect deliberate movement - such as panning - automatically. Exposures with three or more stops slower shutter speed compared to a lens without VR can be achieved depending on shooting conditions and the technique of individual photographers.

This VR performance can be applied in a choice of two modes to suit shooting conditions. Normal mode is ideal for common shooting conditions, including panning or when using a tripod, whilst Active mode is designed to compensate for specific shake caused when shooting at slow shutter speeds from moving platforms such as cars or aircraft.

New teleconverter for Magnified flexibility

Shorter and narrower than it's manual focus predecessor (the Nikkor 200 f/2 IF-ED), the new lens is also 14mm shorter than the AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED. These compact dimensions deliver real benefits when used in combination with Nikon teleconverters like the TC-14EII and TC-20E II.

A brand new TC-17EII 1.7x teleconverter is also introduced (sold separately) to enhance the range of focal length options to factors of 1.4x, 2.0x and now, 1.7x respectively.

The use of such teleconverters with a wide aperture lens is an ideal way of adding extra focal length versatility without the expense and weight of additional lenses. Indeed, just by carrying the AF-S VR Nikkor 200mm f/2G IF-ED and the aforementioned three teleconverters, photographers can gain access to a range of focal lengths that would normally require four different lenses.

Super ED glass

The new lens also features a brand new development in optical glass manufacture, a Super ED glass element.

As its name suggests, Super ED glass offers increased contrast and reduced levels of aberrations over current ED glass, so important when shooting at wide apertures. The AF-S VR Nikkor 200mm f/2.G IF-ED incorporates a total of four ED elements, the most currently available in a Nikkor SLR lens.

Speaking about this important new SLR lens development Robert Cristina, Marketing Executive, SLR Systems, Nikon Europe said: "The new AF-S VR 200mm f/2 lens offers a unique combination of exceptionally sharp results with a bright viewfinder image and attractive background blurring (bokeh) for added impact. VR enables exposures in lighting conditions beyond the limits of previous lenses, with the risk of hand-shake kept to a minimum". He added; "The f/2 aperture also comes into it's own when adding teleconverters to bring substantial weight benefits for the busy traveling photographer. The new TC-17E teleconverter magnifies focal lengths by 1.7x but with just a 1.5 stop exposure adjustment and yet still maintains full Auto focus and VR functions".

Compatible lenses (38)

Nikon AF-S NIKKOR 70-200mm F/4G ED VR ⌀67Pro 2012 
Nikon AF-S NIKKOR 70-200mm F/2.8G IF-ED VR ⌀77Pro 2002 
Nikon AF-S NIKKOR 70-200mm F/2.8G ED VR II ⌀77Pro 2009 
Nikon AF-S NIKKOR 70-200mm F/2.8E FL ED VR ⌀77Pro 2016 
Nikon AF-S NIKKOR 80-200mm F/2.8D IF-ED ⌀77Pro 1998 
Nikon AF-S NIKKOR 80-400mm F/4.5-5.6G ED VR ⌀77Pro 2013 
Nikon AF-S Micro-NIKKOR 105mm F/2.8G IF-ED VR ⌀621:1 @ CFD 0.314mPro 2006 
Nikon AF-S NIKKOR 120-300mm F/2.8E FL ED SR VR ⌀112Pro 2020 
Nikon AF-S NIKKOR 180-400mm F/4E TC1.4 FL ED VRPro 2018 
Nikon AF-S NIKKOR 200mm F/2G ED-IF VRPro 2004 
Nikon AF-S NIKKOR 200mm F/2G ED VR IIPro 2010 
Nikon AF-S NIKKOR 200-400mm F/4G IF-ED VRPro 2003 
Nikon AF-S NIKKOR 200-400mm F/4G ED VR IIPro 2010 
Nikon AF-S NIKKOR 200-500mm F/5.6E ED VR ⌀95Pro 2015 
Nikon AF-S NIKKOR 300mm F/4D IF-ED ⌀77Pro 2000 
Nikon AF-S NIKKOR 300mm F/4E PF ED VR ⌀77Pro 2015 
Nikon AF-I NIKKOR 300mm F/2.8D ED-IFPro 1992 
Nikon AF-S NIKKOR 300mm F/2.8D IF-EDPro 1996 
Nikon AF-S NIKKOR 300mm F/2.8D IF-ED IIPro 2001 
Nikon AF-S NIKKOR 300mm F/2.8G ED-IF VRPro 2004 
Nikon AF-S NIKKOR 300mm F/2.8G ED VR IIPro 2009 
Nikon AF-I NIKKOR 400mm F/2.8D ED-IFPro 1994 
Nikon AF-S NIKKOR 400mm F/2.8D IF-EDPro 1998 
Nikon AF-S NIKKOR 400mm F/2.8D IF-ED IIPro 2001 
Nikon AF-S NIKKOR 400mm F/2.8G ED VRPro 2007 
Nikon AF-S NIKKOR 400mm F/2.8E FL ED VRPro 2014 
Nikon AF-S NIKKOR 500mm F/5.6E PF ED VR ⌀95Pro 2018 
Nikon AF-I NIKKOR 500mm F/4D ED-IFPro 1994 
Nikon AF-S NIKKOR 500mm F/4D IF-EDPro 1997 
Nikon AF-S NIKKOR 500mm F/4D IF-ED IIPro 2001 
Nikon AF-S NIKKOR 500mm F/4G ED VRPro 2007 
Nikon AF-S NIKKOR 500mm F/4E FL ED VRPro 2015 
Nikon AF-I NIKKOR 600mm F/4D ED-IFPro 1992 
Nikon AF-S NIKKOR 600mm F/4D IF-EDPro 1996 
Nikon AF-S NIKKOR 600mm F/4D IF-ED IIPro 2001 
Nikon AF-S NIKKOR 600mm F/4G ED VRPro 2007 
Nikon AF-S NIKKOR 600mm F/4E FL ED VRPro 2015 
Nikon AF-S NIKKOR 800mm F/5.6E FL ED VRPro 2013 
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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

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.

Original name

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

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

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),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

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

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.

Focal length

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.

Speed

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.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

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".

Manual focus override in autofocus 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.

Manual focus override in autofocus 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.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

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.

Semi-automatic diaphragm

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.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

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.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

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.

Weather sealing

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.

Fluorine coating

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.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

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

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.

Lens caps

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.