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Nikon AF-S DX NIKKOR 17-55mm f/2.8G IF-ED Zoom Lens with Auto Focus for Nikon DSLR Cameras

4.8 out of 5 stars 170 customer reviews
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  • Constant f2.8 3.2x zoom lens developed exclusively for use with Nikon DX Format, optimized for Nikon digital SLRs
  • Dust and waterproof rubber sealing mount. Focal length : 17-55mm
  • High optical performance by aspherical lenses and ED glass elements
  • Silent Wave Motor enables ultra-high-speed autofocusing with exceptional accuracy and powerful super-quiet operation
  • M/A mode for quick switching between autofocus and manual operation
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Important Warranty Information: All Nikkor autofocus lenses from Nikon Inc. USA include four years of Nikon Extended Service Coverage at no charge. Be sure to look for the Nikon ESC certificate with every Nikkor lens purchase you make.
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This item: Nikon AF-S DX NIKKOR 17-55mm f/2.8G IF-ED Zoom Lens with Auto Focus for Nikon DSLR Cameras
Customer Rating 5 out of 5 stars (170) 4 out of 5 stars (513) 5 out of 5 stars (2431) 5 out of 5 stars (25)
Price $1,496.95 $399.00 $196.95 $1,066.95
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Sold By Amazon.com Amazon.com Amazon.com Amazon.com
Compatible Mountings Nikon F (DX) Nikon F (DX) Nikon F (DX) Information not provided
Dimensions 3.39 inches x 4.37 inches x 3.39 inches 3.31 inches x 3.62 inches x 3.31 inches 2.76 inches x 2.09 inches x 2.76 inches 3.15 inches x 3.39 inches x 3.15 inches
Item Weight 1.66 pounds 1.25 pounds 0.44 pounds 1.06 pounds
Lens Zoom lens Zoom lens standard-prime zoom
Maximum Aperture 2.8 2.8 1.8 4 f
Max Focal Length 55 mm 50 mm 35 mm 80 mm
Min Aperture 22 22 22 22 f
Min Focal Length 17 mm 17 mm 35 mm 16 mm
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Product Description

Product Description

L1)NIKON 17-55MM F2.8G IF-ED (2147)

From the Manufacturer


Lens-making is an art--Nikon artisans craft Nikkor optics from the finest materials, taking pride in adding their intellect and technique to bring the world's finest lenses to life. They push the leading edge of lens-making in their effort to provide the "glass" that makes the world's greatest pictures.

The Nikon 17-55mm f2.8G ED-IF AF-S DX is the world's first constant f2.8 3.2x zoom lens developed exclusively for use with Nikon DX Format. The 3.2x zoom covers from a wide angle of 79 degrees to a narrow angle of 28 degrees 50 minutes (equivalent to 25.5mm to 85.5mm for 35mm format) and is ideal for architecture, landscape, groups shots and portraits. DX design enables a combination of wider angle-of-view with optical characteristics that are optimized for Nikon digital SLR camera sensors. Nikon DX design produces a smaller image circle (the size of the image that is projected by the lens on to the sensor) enabling smaller lens diameter, lighter weight, and optimal image quality from center-to edge-to-corner on the image.

Three Extra-Low Dispersion (ED) glass elements minimize chromatic aberration and provide higher resolution and superior contrast. Three aspherical lens elements minimize distortion in a lightweight and compact design similar to 17-35mm f2.8 lens. The exclusive Silent Wave Motor enables ultra-high-speed autofocusing with exceptional accuracy and powerful super-quiet operation. [M/A] and [M] modes allow rapid switching between AF and MF operation. Internal Focusing design for smoother focusing and great body balance. Nikon D-type design provides precise distance information for flash and ambient light exposure processes. The rounded diaphragm makes out-of-focus elements appear more natural. The G Type DX Nikkor is designed exclusively for use with Nikon Digital SLR models.
17-55mm Lens Construction
ED glass: An essential element of Nikkor telephoto lenses
Nikon developed ED (Extra-low Dispersion) glass to enable the production of lenses that offer superior sharpness and color correction by minimizing chromatic aberration. Put simply, chromatic aberration is a type of image and color dispersion that occurs when light rays of varying wavelengths pass through optical glass. In the past, correcting this problem for telephoto lenses required special optical elements that offer anomalous dispersion characteristics--specifically calcium fluoride crystals. However, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. So Nikon designers and engineers put their heads together and came up with ED glass, which offers all the benefits and none of the drawbacks of calcium fluorite-based glass. With this innovation, Nikon developed several types of ED glass suitable for various lenses. They deliver stunning sharpness and contrast even at their largest apertures. In this way, Nikkor's ED-series lenses exemplify Nikon's preeminence in lens innovation and performance.

Nikon Super Integrated Coating ensures exceptional performance
To enhance the performance of its optical lens elements, Nikon employs an exclusive multilayer lens coating that helps reduce ghost and flare to a negligible level. Nikon Super Integrated Coating achieves a number of objectives, including minimized reflection in the wider wavelength range and superior color balance and reproduction. Nikon Super Integrated Coating is especially effective for lenses with a large number of elements, like our Zoom-Nikkors. Also, Nikon's multilayer coating process is tailored to the design of each particular lens. The number of coatings applied to each lens element is carefully calculated to match the lens type and glass used, and also to assure the uniform color balance that characterizes Nikkor lenses. This results in lenses that meet much higher standards than the rest of the industry.

Aspherical lens elements
Nikon introduced the first photographic lens with aspherical lens elements in 1968. What sets them apart? Aspherical lenses virtually eliminate the problem of coma and other types of lens aberration--even when used at the widest aperture. They are particularly useful in correcting the distortion in wide-angle lenses. In addition, use of aspherical lenses contributes to a lighter and smaller lens design. Nikon employs three types of aspherical lens elements. Precision-ground aspherical lens elements are the finest expression of lens-crafting art, demanding extremely rigorous production standards. Hybrid lenses are made of a special plastic molded onto optical glass. Molded glass aspherical lenses are manufactured by molding a unique type of optical glass using a special metal die technique.

Internal Focusing
Imagine being able to focus a lens without it changing in size. Nikon's IF technology enables just that. All internal optical movement is limited to the interior of the non-extending lens barrel. This allows for a more compact, lightweight construction as well as a closer focusing distance. In addition, a smaller and lighter focusing lens group is employed to ensure faster focusing. The IF system is featured in most Nikkor telephoto and selected Nikkor zoom lenses.

Distance information
D-type and G-type Nikkors relay subject-to-camera distance information to AF Nikon camera bodies. This then makes possible advances like 3D Matrix Metering and 3D Multi-Sensor Balanced Fill-Flash. Note: D-type and G-type Nikkors provide distance information to the following cameras: Auto exposure; F6, F5, F100, F90X, F80, F75, F70, F65, F60, F55, F50, Pronea S, Pronea 600i, D2 series, D1 series, D100 and D70s/D70. Flash control; F6, F5, F100, F90X, F80, F75, F70, D2 series, D1 series, D100 and D70s/D70.

G-type Nikkor lens
The G-type Nikkor has no aperture ring; aperture should be selected from camera body.

Silent Wave Motor
Nikon's AF-S technology is yet another reason professional photographers like Nikkor telephoto lenses. AF-S Nikkors feature Nikon's SWM which converts "traveling waves" into rotational energy to focus the optics. This enables high-speed autofocusing that's extremely accurate and super quiet.

M/A mode
AF-S Nikkors feature Nikon's exclusive M/A mode, that allows switching from autofocus to manual operation with virtually no time lag--even during AF servo operation and regardless of AF mode in use.

DX Nikkor
Compact and lightweight DX Nikkor lenses featuring a smaller image circle are specially designed and optimized for Nikon D2-series, D1-series, D100, and D70s/D70 digital SLR cameras. These are ideal options for landscape photographers and others who need to shoot expansive scenes with Nikon DX-Format digital SLRs. Note: We do not recommend use of DX Nikkor with 35mm (135) or IX240 format cameras.
17-55mm Wide MTF Chart17-55mm Tele MTF Chart
What's in the Box:
Lens, 77mm snap-on front lens cap LC-77, rear lens cap LF-1, flexible lens pouch CL-1120, bayonet hood HB-31.

Product Information

Product Dimensions 4.4 x 3.4 x 3.4 inches
Item Weight 1.7 pounds
Shipping Weight 2.4 pounds (View shipping rates and policies)
ASIN B000144I2Q
Item model number 2147
Customer Reviews
4.8 out of 5 stars 170 customer reviews

4.8 out of 5 stars
Best Sellers Rank #400 in Camera & Photo > Lenses > Camera Lenses > Digital Camera Lenses
#11,726 in Camera & Photo > Camera & Photo Accessories
Date first available at Amazon.com June 15, 2006

Technical Specification

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Customer Reviews

Top Customer Reviews

By Tessa VINE VOICE on January 23, 2007
Reviewers below have already described how great this lens is -- I add my voice to the choir but wanted to write here about the decision process that led to 17-55. As others have also said, choosing the camera is relatively easy but choosing the lens (or lenses) is mind boggling. I spent the better part of two weeks researching online and going to photo stores. The 17-55 was barely in my peripheral vision when I started. Of course the first thing I considered was the 18-200VR. All the reviewers like it -- Rockwell was practically orgasmic -- and softly bashed the 17-55 as a heavy, expensive and overkill for most. I looked at many options and kept coming back to the 18-200 as the best all round but something wouldn't let me pull the trigger. And it's this: I like natural light. Many of my photos are references for painting, and I do a lot of portraits and some landscape. Getting the best color, in natural light is my highest priority. In amongst the 18-200 reviews there were a few hints about it being a bit dark at the 200 end (even with VR allowing slower shutter) and about "creep" of the lens when held vertically. I liked the possibility of a one-lens for all situations but began to wonder if I would get my use out of the 200 end without flash or tripod. Came to the 17-55 and dismissed it several times until finally tried it in a photo store. In retrospect, the reviewers suggest focusing on your priorities and for me the 17-55 made the most sense. I admit that I am partial to the simple feel of the lens -- phrases like "built like a tank" carry a lot of weight with me. I'm careful but do use the stuff. I also got an 85 1.8 for portraits so for the two lenses spent double the price of the 18-200VR -- not what I had planned on.Read more ›
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After one year with my trusty D80 I finally jumped and got this lens.
I have to tell you that probably some of you will argue that for less money people can get a f/2.8 Tamron (click here:Tamron SP AF17-50mm F/2.8 Di II LD Aspherical (IF) Lens with hood for Nikon-D DSLR Cameras) or a f/2.8 Sigma (click here: Sigma 18-50mm f/2.8 EX DC HSM Macro Lens for Nikon DSLR), but such comparisons are completely off track.

First of all, a $800 difference it's not just marketing. It is reflected by a totally different image quality, a better build (metal and sealing), the speed of the AF system and the overall feeling of holding a real pro lens.

Secondly, the Tamrons I was contemplating into buying all had some problems with flash overexposure on TTL and TTL BL modes on my SB800 + D80 combo. I am not quite sure why it happened with the Tamron, but I have no such problems with the DX 17-55. Moreover, Tamron has inferior AF speed and this can be observed especially in lowlight. Try focusing with the 17-55 in ambiental light from a 60W light bulb and you will have no problem. Then try the same with a Tamron and you will.

Another thing that is annoying is the CA I've noticed with the Tammy, even when the lens was stopped down. I personally hate strong CA because it makes my photos look very P&S-like.

However, the 17-50 Tamron is a good contender and may be an option for anyone on a tight budget. Please keep in mind that I saved for the Nikkor and I got it actually one year after my first decision, but I believe the waiting was worth every penny.
Read more ›
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Verified Purchase
I have been using Nikon cameras for 30 years, and their digital SLR's for the past 5 or so...this is far and away one of the best Nikon lenses I have ever used - amazingly well built, excellent image quality, fast focusing, wonderful glass. The downside is primarily the price -- it's as expensive as a full camera, and the weight -- this is a two pound lens. If your budget can accomodate this lens, get it, you will be thrilled. If your budget can not, get the Tamron 17-50 which has similar image quality, weighs less than a pound, and sells for 1/3 the price of this lens. But wow...once you try this lens, you will kick yourself for getting anything lesser....Warning: filter size is 77, so most of your existing filters probably won't work, and do your self a favor and get yourself an UV filter/lens protector out of the box before you put your fingers on your 1300.00 lens.
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This is a great lens for photojournalism, weddings and general photography. I've not had the opportunity to shoot landscapes with mine yet but I expect it to excel in that aspect as well. Wide open, the lens is very sharp - When opening images in Adobe photoshop, there is often no need for sharpening.

The lens balances well on my Nikon D70, and is very comfortable to use - the zoom and focus rings are adquately sized and have a nice consistent resistance throughout their respective ranges. Additionally, the lens focuses very close (about a foot from the subject), allowing a lot of creative flexibility.

I purchased this lens as an upgrade to the D70 kit lens (18-70 f/3.5-4.5) and can honestly say it was worth it. I shot a low light wedding (my first) with this lens and an 85 1.8 and found the 17-55 indispensible. The fast 2.8 aperture is great for low light while the 17mm end (appears similar to a 27mm on film) allows for a much wider angle than comparable 28-7x lenses. I've heard of sample variation, but have had no problems with mine. Highly recommended.
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