SB800 Techniques

8/8/2019 SB800 Techniques

1/24

SB-800Autofocus Speedlight

Page numbers in parentheses refer you to explanations in the main instruction manual.

A collection of example photos

Enter the exciting world of Nikon's Creative Lighting System

with the SB-800.

En


2/24

A wealth of advanced flash-shootingtechniques await you

with the SB-800.

Soften the shadows.

Record details of small objects.

Take life-like portraits.

4

5"

7

"

8

!9


3/24

Emulate the results of professional studio photographers.

Create more natural-looking pictures by illuminating both

the subject and background.

Use colored gel filters to add specific colors to the scene.

Numbers on the pictures refer to page numbers of this booklet.

)

#

$

%

(

+

~


4/24

4 Bounce flash

Normal flash

When photographing a person standing infront of a wall, tilt or rotate the flash head upto bounce the light off the ceiling. This softensthe light falling on the subject, while throwingthe dark shadow behind and below thesubject. This is an excellent technique to useindoors to render the subtle tones of thepersons face, where direct flash oftencauses harsh, unattractive lighting (p. 98).

Shooting data (Bounce flash)Camera: D2HLens focal length: 60mmSpeedlight: SB-800 set to D with

flash head tilted upAperture: f/8Shooting distance: Approx. 4m (13.1 ft.)

Shooting data(Normal flash)Camera: D2HFocal length: 60mmSpeedlight: SB-800

set to D with flashhead in normalposition

Aperture: f/9Shooting distance:

Approx. 4m (13.1 ft.)

90

50

Tilting the flash head and choosing thereflecting surfaceTilt the flash head up at least 50 for the mosteffective bounce flash. Also, make sure that thelight from the flash head does not illuminate thesubject directly. Optimum results are obtainedwhen the flash head is positioned 12m(3.36.6 ft.) from the reflecting surface.When shooting in color, select white or highlyreflective surfaces to bounce the light off of.Otherwise, your pictures will come out with anunnatural color cast similar to that of thereflecting surface.

Flash set-up

Bounce flashCreate more flattering portraits by tilting orrotating the flash head to bounce the lightoff the ceiling or walls.


5/24

5

With Nikon Diffusion DomeWithout Nikon Diffusion DomeShooting data(Without Nikon Diffusion Dome)Camera: D2HFocal length: 105mmSpeedlight: SB-800 set to DAperture: f/6.3Shooting distance: Approx. 2.5m

(8.2 ft.)

Notes on using the Nikon Diffusion DomeGood results are obtained when the flash head istilted up 60.Essentially the same lighting effect is producedwhen the camera is positioned either horizontallyor vertically.Use of the built-in wide-flash adapter in conjunctionwith the Nikon Diffusion Dome produces themaximum amount of diffused light.

Nikon Diffusion Dome

Shooting data(With Nikon Diffusion Dome)Camera: D2HFocal length: 105mmSpeedlight: SB-800 set to D

with Nikon Diffusion Dome attachedAperture: f/6.3Shooting distance: Approx. 2.5m (8.2 ft.)

The Nikon Diffusion Dome diffuses the lightfrom the flash to soften shadows and preventthe subjects face from coming out too bright.By attaching the provided Nikon Diffusion Domeover the flash head, you can diffuse the light evenmore when doing bounce flash, creating extremelysoft light with virtually no shadows, while insuringsufficient illumination of the background (p. 101).

Flash set-up


6/24

Shooting data(i-TTL Automatic Balanced Fill-Flash)Camera: D2HFocal length: 70mmSpeedlight: SB-800 set to

DoAperture: f/14

In this mode, the camera automatically controls theflash output to keep both the subject and back-ground properly exposed. This mode is especiallyeffective when shooting scenes that include amirror, white wall, or other highly reflectivesurfaces (p. 37).

i-TTL Automatic Balanced Fill-Flash Standard i-TTL flash

Auto FP High-Speed Sync

Shooting data(Auto FP high-speed sync)Camera: D2HFocal length: 125mmSpeedlight: SB-800 set toBKAperture: f/2.8Shutter speed: 1/3200 sec.

Automatic high-speed flash synchronization atshutter speeds exceeding the cameras flash syncspeed is possible. When shooting with flashoutdoors, faster shutter speeds allow you to use awider aperture to blur the background and/orfreeze fast-moving subjects (p. 60).

Auto FP high-speed sync Flash shooting at normal sync speed

6

i-TTL Automatic Balanced Fill-Flash


7/24

Flash Value Lock (FV Lock)

Using FV Lock, you can obtain the correctexposure, when the subject is off-center andpositioned against a dark or light background.Because the flash exposure remains locked ineven if you change the aperture or composition, orzoom the lens in and out, you can obtain thecorrect exposure for the main subject. Without FV

Lock, the main subject is overexposed due to thedark background (p. 61).

Shooting data(Without FV Lock)Camera: D2HFocal length: 60mmSpeedlight: SB-800 set to DAperture: f/8

Using FV Lock for an off-center subjectWithout using FV Lockfor an off-center subject

FV Lock is unnecessary when

the main subject is centered.

7

Shooting data (With FV Lock)Camera: D2HFocal length: 60mmSpeedlight: SB-800 set to DoAperture: f/8

Shooting data(Without FV Lock)Camera: D2HFocal length: 60mmSpeedlight: SB-800 set to DAperture: f/8


8/24

Two flash units (one bounced from the side;another used directly from the top rear) Direct on-camera flash

Off-camera flash directly from the side

Off-camera flash bounced from the side

Three flash units(one flash bounced from the side + two

flashes from the top and rear)

Close-up photography using multiple flash units

8

Flash set-up

2

1

Dramatic close-ups of small objects can becreated by using one SB-800 off-camera as themaster flash and another as the remote flash.A feeling of roundness is provided by this set-up.One SB-800, the master flash, is used off-cameravia a cord to bounce the light off a reflector card todiffuse the shadows, while a second SB-800, the

remote flash, is positioned above and to the leftrear of the subject, providing direct illumination.In this situation, the master flash unit is the fill light,whereas the remote flash is the main light (p. 102).

Shooting data (Using two flash units)Camera: D2HFocal length: 105mm1 Master flash unit: SB-800 set to D

(bounced from the side)2 Remote flash unit: SB-800 set to D

(directly from the top rear)Aperture: f/22Shooting distance:

Approx. 1m (3.3 ft.)


9/24

On-camera flash

Two flash units: one flashback-lit from the side +another from the bottom using

a reflector and gel filter.

With a single on-camera flash unit, distinctshadows appear behind the subject, contributingto a sense of flatness. Bounced illumination fromthe side and direct illumination from the top rearprovided by two SB-800s eliminate the shadowsand emphasize the motorcycles contours such asthe wheels. In this way, a much more vivid rendition

of both the miniature model of the bike and thefigure beside it are created (p. 102).

Shooting data(Two flash units: Off-camera flash bouncedfrom the side + another directly from the top rear)Camera: D2HFocal length: 105mm1 Master flash unit: SB-800 set to D

(bounced from the side)2 Remote flash unit: SB-800 set to D

(directly from the top rear)Aperture: f/22Shooting distance: Approx. 1.5m (4.9 ft.)

Two flash units: Off-camera flash bouncedfrom the side + one directly from the top

9

Flash set-up2

1


10/24

Close-up photography using multiple flash units (cont.)

By using more than one SB-800, you can takebreath-taking close-ups of subjects like flowers.To bring out the gorgeous colors and textures ofthe purple cattleyas, two SB-800s were used, oneon the left front (as the master unit via a cord) andanother (as the remote unit) on the right rear andslightly above the flowers. Although bothSpeedlights were used directly, this lighting set-upproduces soft shadows with enhanced subjectdetail (p. 102).

Shooting data(Using two flash units)Camera: D2HFocal length: 105mm1 Master flash unit: SB-800 set to D2 Remote flash unit: SB-800 set to D

(from the top)Aperture: f/32Shooting distance: Approx. 1m (3.3 ft.)

Two flash units (one from the side and another from above) A single flash unit from above

!

Shooting data(Using a single flash unit from above)Camera: D2HFocal length: 105mmMaster flash unit: SB-800 set

to DAperture: f/25Shooting distance: Approx. 1m

(3.3 ft.)

Flash set-up

2

1


11/24

Wireless multiple flash shooting in the TTL auto flash mode

Shooting data(Advanced Wireless Lighting)Camera: D2HFocal length: 70mmMaster flash unit: SB-800

set to DRemote flash unit: SB-800

set to DAperture: f/11

Shooting data(Using two flash units)Camera: D2HFocal length: 70mmMaster flash unit: SB-800 set

to DRemote flash unit: SB-800 set

to DAperture: f/14

In addition to the master flash unit used on-camera,the remote flash unit illuminates the subject fromthe side to create a more natural-looking portrait.In current wireless multiple flash shooting, theoverlapping portions illuminated by two flash unitsare overexposed. However, with AdvancedWireless Lighting in the TTL auto flash mode, thesubject comes out correctly exposed (p. 76).

Advanced Wireless Lighting shooting (Two flash units:on-camera flash + remote flash from the side)Current wireless multipleflash shooting

The master flash unit is used on-camera while theremote flash unit illuminates the subject from the rearto emphasize the subjects contour and bring out thedelicate details of subjects hair. This lighting set-upis particularly effective when shooting portraitsagainst dark backgrounds (p. 76).

Two flash units: on-camera flash + remote flash from the rear

Single on-camera flash

"


12/24

Multiple flash shooting (1)

Use more than one flash to illuminate both thesubject and the background.With one SB-800 used on-camera, the subject infront is properly illuminated, while the backgroundcomes out too dark. To create a more natural-looking picture of the woman sitting in the room,one remote flash unit was placed behind the

subject and on the right, then bounced off theceiling to light the background. Another remoteflash unit with a red gel filter attached waspositioned in the fireplace behind a log to createthe impression of flames (p. 80).

Shooting data(Using three flash units)Camera: D2HFocal length: 25mm1 Master flash unit: SB-800 set

to D2 Remote flash unit A: SB-800

set to D(bounced off the ceiling)

3 Remote flash unit B: SB-800set to G(with red gel filter)

Aperture: f/5.6

Three flash units (on-camera flash + one remote unit bounced offthe ceiling + one remote unit with red gel filter in the fireplace) Single on-camera flash

Two flash units (one on-cameraflash + one remote unit bounced

from the ceiling)

#

Flash set-up

2

1

3

Fireplace


13/24

Multiple flash shooting (2)

Shooting data(Using three flash units)Camera: D2HFocal length: 48mm

1 Master flash unit: SB-800set to D2 Remote flash unit A: SB-800

set to D3 Remote flash unit B: SB-800

set to GAperture: f/8

The master flash illuminates the subject fromthe side, while two remote flash units softenand eliminate the shadows.In this setup, the master flash was placed off-camera on the left to emphasize the subjectcontours, but casts shadows on the womans faceand a harsh shadow on the back wall. Remote flashA was positioned on the right to soften the shadows.However, the shadow on the wall still exists.To remove it, remote flash B was placed at thesubjects feet to bounce light off the wall, resultingin a dramatic portrait (p. 76).

Three flash units (One off-camera on the left + one on theright + one behind the subject bounced off the back wall)Single off-camera flash

Two flash units (One off-cameraon the left + one on the right)

$

3

1 2

Flash set-up


14/24

Slow-sync flash shooting with multiple flash

Using a slow shutter speed with more than oneflash produces more natural-looking pictures ofthe subject and background.Four flash units were used to illuminate the subjectand the room in back. Remote flash unit A wasadded to the master flash unit used on-camera toilluminate the subject from the side to create a

more vivid rendition of the woman and the fruit inthe basket. Two more remote flash units B and Cwere placed in the room behind the subject. Lightfrom remote flash unit B was bounced off the wall,while that of remote flash unit C was bounced offthe ceiling to illuminate the entire room and addaccent. Furthermore, a slow shutter speed wasused to make the tones of the subject and thebackground come out brighter (pp. 58, 76).

Shooting data(Using a slow shutter speed)Camera: D2HFocal length: 40mm1 Master flash unit: SB-800 set to D2 Remote flash unit A: SB-800 set to B3 Remote flash unit B: SB-800 set to B4 Remote flash unit C: SB-800 set to GAperture: f/8Shutter speed: 1/30 sec.

Four flash units using a slow shutter speed Four flash units usinga normal shutter speed

%

Shooting data(Using a normal shutter speed)Camera: D2HFocal length: 40mm1 Master flash unit: SB-800

set to D2 Remote flash unit A: SB-800

set to B

3 Remote flash unit B: SB-800set to B4 Remote flash unit C: SB-800

set to GAperture: f/8Shutter speed: 1/250 sec.

4 3

1

2

Flash set-up


15/24

Slow-sync flash shooting

When shooting in extremely dark situations,flash can be used with slow shutter speeds toobtain the correct exposure for both the subjectand background.Often, when taking flash pictures in low-lightsituations or at night, the background comes outvastly underexposed. In this case, set theslow-sync flash mode on your camera.This allows the use of slow shutter speeds forrecording detail in the background, while the flashprovides the correct exposure for the subject in theforeground (p. 58).

Shooting data(Slow-sync flash)Camera: D2HFocal length: 80mmMaster flash unit: SB-800 set to Do

Aperture: f/7.1Shutter speed: 1/4 sec

Slow-sync flashNormal shutter speed

&

Shooting data(Normal shutter speed)Camera: D2HFocal length: 80mmMaster flash unit: SB-800 set

to DoAperture: f/7.1Shutter speed: 1/250 sec.


16/24

Shooting with colored gel filters

The same is true when shooting flash pictures underincandescent/tungsten illumination. In this case, set yourdigital cameras white balance to Incandescent.

Shooting data (With a gel filter)Camera: D2HSpeedlight: SB-800 set to DoWhite balance setting: Incandescent

Shooting data(With a gel filter)

Camera: D2HSpeedlight: SB-800 set to DoWhite balance setting: Flash

With a gel filter (for incandescent light) and the cameraswhite balance set to Incandescent

With a gel filter (for incandescentlight) and the cameras white

balance set to Flash

Modifying the color temperature of the flash to matchthat of the overall scene illumination.If you shoot flash pictures under fluorescent light with yourdigital cameras white balance set to Flash, the main sub-ject will look normal. However, the background will come outgreen. To compensate, use a green gel filter, then adjust thecameras white balance to Fluorescent (p. 96).

With a gel filter (for fluorescent light) and the cameraswhite balance set to Fluorescent Without a gel filter and the cameraswhite balance set to Flash

(

Shooting data(Without a gel filter)Camera: D2HSpeedlight: SB-800 set to DoWhite balance setting: Flash

Shooting data(With a gel filter)Camera: D2HSpeedlight: SB-800 set to DoWhite balance setting: Fluorescent


17/24

Single on-camera flash

Colored gel filters can be used to add dramaticcolors to the scene.The optional Colored Gel Filter Set SJ-1 contains atotal of 20 gel filters in various colors. In the mainphoto above, the on-camera master flashilluminates the woman, while three remote unitsare used behind her. Two units with red and blue

gel filters were bounced off the back wall toaccentuate the background in addition to theindirect blue lighting. A third remote unit without agel filter was placed directly behind the subjectshead to create rim-lighting on her hair (pp. 76, 96).

Shooting data(With a single flash)Camera: D2HFocal length: 38mmMaster flash unit: SB-800 set

to DAperture: f/5.6White balance setting: Flash

Four flash units: One on-camera + three remote flashunits (two with gel filters and one without)

Using colored gel filters with multiple flash

)

Shooting data(With four flash units)Camera: D2HFocal length: 38mm1 Master flash unit: SB-800 set to D2 Remote flash unit A: SB-800 set to G3 Remote flash unit B: SB-800 set to G4 Remote flash unit C: SB-800 set to GAperture: f/5.6White balance setting: Flash

34

Flash set-up

2

1


18/24

Using colored gel filters with multiple flash (cont.)

The optional Colored Gel Filter Set SJ-1 can beused with the SB-800 to add specific colors tocreate various renditions of a scene.In these photos, the on-camera flash was bouncedoff the ceiling and used as the master unit, while asecond flash unit positioned on the right side wasused directly as the remote unit. The color of theillumination from the remote flash was modified byattaching colored gel filters. In addition, thebackground was changed by placing a windowshade between the subject and remote flash andfiring the flash through it (pp. 76, 96).Shooting data (Using two flash units)Camera: D2HFocal length: 60mm1 Master flash unit: SB-800 set to D2 Remote flash unit: SB-800 set to G

Aperture: f/7.1White balance setting: Flash

On-camera flash (bounced) + remote flash unit with a yellowgel filter and positioned behind the window shade On-camera flash only (bounced)without the window shade

Two flash units with no gel filterwith the window shade

Two flash units with a blue gelfilter with the window shade

Two flash units with an red gelfilter with the window shade

~

Flash set-up

Window shade

2

1


19/24

wo flash units with no gel filterwithout the window shade

Two flash units with a blue gelilter without the window shade

Two flash units with an red gelilter without the window shade

Truly original photos are possible to create byusing three remote flash units with colored gelfilters attached and positioning them on three sidesof the subject, then shooting the picture from ahigh angle (pp. 76, 96).Shooting data (Using four flash units)Camera: D2HFocal length: 45mm

1 Master flash unit: SB-800 set to D2 Remote flash unit A: SB-800 set to Gwith a yellow gel filter

3 Remote flash unit B: SB-800 set to Gwith a red gel filter

4 Remote flash unit C: SB-800 set to Gwith a blue gel filter

Aperture: f/8White balance Setting: Flash

Four flash units with gel filters

+

Flash set-up

3

4

2

1


20/24

With the SB-800 mounted on the camera and useddirectly, illumination of the wall with the framedpictures falls off rapidly toward the rear. To spiceup the picture and add needed illumination, threeremote flash units with blue, yellow, and red gelfilters were bounced off the wall (pp. 76, 96).Shooting data(Using four flash units)Camera: D2HFocal length: 56mm1 Master flash unit: SB-800 set to D2 Remote flash unit A: SB-800 set to G3 Remote flash unit B: SB-800 set to G4 Remote flash unit C: SB-800 set to GAperture: f/5.6White balance setting: Flash

Four flash units: On-camera flash + three remote flashunits with blue, yellow, and red gel filters Single on-camera flash

Four flash units: On-cameraflash + three remote flash unitswithout gel filters.

Using colored gel filters with multiple flash (cont.)

,

1

4

3

2

Flash set-up


21/24

Flash output level compensation using multiple flash units

-

Shooting data(Foreground and backgroundcorrectly exposed)Camera: D2HFocal length: 42mm1 Master flash unit: SB-800 set to D2 Remote flash unit: SB-800 set to DAperture: f/10

Flash set-up

In the Advanced Wireless Lighting mode, you can use more than one flash tointentionally overexpose or underexpose various parts of the picture.The series of photos below were taken with two flash units; the master flash unit was used on-camera to illuminatethe subject in the foreground, while the remote unit lit the background subject. The photo in the center was takenwithout setting any exposure compensation on either flash unit, or in other words, 0.0 EV. Both the backgroundand foreground are correctly exposed. The photos reading across from left to right were made by using flash outputlevel compensation on the master flash that illuminates the foreground subject, in this case +1 EV compensationfor the left-hand shot and 1 EV compensation for the right-hand one. The pictures reading from top to bottomwere created by setting flash output level compensation on the remote flash that lights the background subject; thetop photo has +1 EV compensation and the bottom 1 EV compensation. (pp 54, 76)

2

1

Correct exposureForeground overexposed Foreground underexposed

Background overexposed

Background underexposed


22/24

Exposure compensation and flash output level compensationExposure compensation and flash output level compensation areused to intentionally modifying the exposure.Exposure compensation in the Non-TTL auto flash mode is shown in the threephotos on the left. Varying the exposure for both the subject and backgroundis possible by changing the aperture setting on the SB-800 (p. 54).Flash output level compensation in the TTL auto flash mode is shown in thethree photos on the right. Varying the exposure for the main subject withoutaffecting the background is possible by changing the flash output level on theSB-800 (p. 56).

+1 exposure compensation

No compensation

1 exposure compensation

+1 flash output level compensation

No compensation

1 flash output level compensation

.


23/24

Red-eye reductionPrevents the center of a persons eyesfrom appearing red in color photographs.Red-eye reduction control is set on thecamera, not on the SB-800 (p. 58).

With red-eye reductionWithout red-eye reduction

Rear-curtain sync flash

Allows flash pictures of a moving subjectwhere the blur appears in the properposition behind the subject.As shown in the example photos, whenshooting fast-moving subjects at slow shutter speeds using front-curtain flash sync,unnatural-looking pictures can occur. Rear-curtain flash sync creates a picture inwhich the blur appears behind the subject rather than overlapping it (p. 59).

Rear-curtain sync flash

Front-curtain sync flash

Repeating flashTo create stroboscopic multiple-exposure effects, the SB-800 can befired repeatedly during a singleexposure (p. 48).

/


24/24

NIKON CORPORATION

Printed in Japan

Documents

SB800 Techniques