The Nikon Creative Lighting System: Using the SB-600, SB-800, SB-900, and R1C1 Flashes

The Nikon Creative Lighting System i

The Nikon Creative Lighting System

The Nikon Creative Lighting Systemii

Mike Hagen is an avid adventurer who combines his passion for the outdoors with excellence in photography. He is a skilled digital photography instructor, location photographer, class leader, and editorial writer.

He started Out There Images (OTI) in 1998 as a way to share his passion for photogra-phy with the rest of the world. Mike is well known for his intensity, energy, and enthu-siasm. If you participate in a workshop with him, you will be pleasantly surprised by his generosity and infectious enthusiasm for imparting his knowledge to all participants.

Based in Washington State, USA, Mike has traveled extensively throughout the American West as well as the rest of the world. Travel and adventure are his passion, so you’ll frequently find him somewhere far away from civilization, camera in hand, having a ball in the outdoors.

Mike Hagen has worn many hats in his short lifetime. He graduated from college with a Mechanical Engineering degree and worked in Semiconductor Manufacturing for 10 years. He is currently a small business owner, a freelance writer, and a professional photographer. His passions are traveling, creating, writing, photography, and teaching. He is happily married and the father of two beautiful children.

Mike aspires to live life to the fullest and to help others do the same. His enthusiasm and zest for life are infectious. His devotion to God and family guides everything he does.

Mike can be reached at:Out There Images, Inc.PO Box 1966Gig Harbor, WA [email protected]

Out There Images, Inc. – “Get Out And Learn!”

Mike Hagen - Author

The Nikon Creative Lighting System iii

The Nikon Creative Lighting System

Mike Hagen

The Nikon Creative Lighting Systemiv

Mike Hagen (www.outthereimages.com)

Editor: Gerhard RossbachProduction editor: Joan DixonCopyeditor: Cynthia AndersonProof reader: Sarah CastellanosLayout and type: Jan Martí, Command ZCover design: Helmut Kraus, www.exclam.deCover photo: Nikon U.S.A.Back cover photo: Mike HagenPrinter: Friesens Corporation, Altona, CanadaPrinted in Canada

st Edition (rd Printing, March )© Nikonians North America, Inc.Rocky Nook, Inc. West Mission Street Ste Santa Barbara, CA -

Library of Congress Cataloging-in-Publication Data

Hagen, Mike. � e Nikon creative lighting system : using the SB-, SB-, SB-, and RC � ashes / Mike Hagen. -- st ed. p. cm. ISBN ---- (alk. paper) . Electronic � ash photography. . Nikon camera. I. Title. TR.H .’--dc

Distributed by O‘Reilly Media Gravenstein Highway NorthSebastopol, CA

All product names and services identi� ed throughout this book are trademarks or registered trademarks of their respective companies. � ey are used throughout this book in editorial fashion only and for the bene� t of such companies. No such uses, or the use of any trade name, is intended to convey endorsement or other a� liation with the book. No part of the material protected by this copyright notice may be reproduced or utilized in any form, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission of the copyright owner. While reasonable care has been ex-ercised in the preparation of this book, the publisher and authors assume no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein.

� is book is printed on acid-free paper.

Table of Contents v

Table of Contents

x Foreword

2 CLS Background

3 What Are CLS and iTTL?6 What Works with iTTL?6 What Doesn’t Work with iTTL?7 Can I Use the SB-600, SB-800, or SB-

900 on My Old Camera Body?8 What is D-TTL?9 Capabilities of CLS

12 Quick Start Guide


16 Flash Theory

17 Light18 How a Flash Fires18 Controlling the Power21 Stops22 Th irds of a Stop22 Guide Number23 Camera Sync Modes30 Which Sync Mode Should You Use?30 Making Good Use of Flash Power

2 CLS Background

3 What Are CLS and iTTL?6 What Works with iTTL?6 What Doesn’t Work with iTTL

1



2

16 Flash Theory

17 Light18 How a Flash Fires18 Controlling the Powe

3

Table of Contentsvi

4

5

36 SB-600 Buttons, Modes, Menus, and Operation

37 SB-600 Buttons and Controls51 SB-600 Custom Settings Menus53 Using the SB-600 as a53 Dedicated Flash55 Using the SB-600 as a Remote Flash

58 SB-800 Buttons, Modes, Menus, and Operation

59 SB-800 Buttons and Controls86 SB-800 Custom Settings Menus90 Using the SB-800 as a90 Dedicated Flash92 Using the SB-800 as a Remote Flash93 Using the SB-800 as a Commander Unit96 Using the SB-800 as a Repeat96 Commander Unit98 Using the SB-800 as an SU-4 Unit

(Commander or Remote)

6106 SB-900 Buttons, Modes,

Menus, and Operation

107 SB-900 Buttons and Controls130 SB-900 Custom Settings Menus137 Using the SB-900 as a Dedicated Flash138 Using the SB-900 as a Remote Flash139 Using the SB-900 as a Commander Unit143 Using the SB-900 as a Repeat

Commander Unit145 Using the SB-900 as an SU-4 Unit

(Commander or Remote)

7152 SU-800, SB-R200, and

R1C1 Operation

154 SU-800 Buttons and Controls163 Using the SU-800 as a Commander Unit170 SB-R200 Buttons and Controls173 Using the SB-R200 as a Remote Flash174 Using the R1C1 Kit

Table of Contents vii

10194 Flash Beeps

11198 White Balance and

Gel Usage

200 Automatic White Balance201 Factory Preset White Balance202 Custom (or Preset) White Balance205 Kelvin Values206 Using Gels210 Using Gels with the SB-900

8180 Five-Step Plan for Great

Flash Photography

181 Step 1: Set Camera Shutter Sync182 Step 2: Set Flash Mode182 Step 3: Set Flash Power183 Step 4: Take Picture and Review

Result184 Step 5: Change Settings as Needed

and Shoot Again

9186 Wireless Flash Camera

Capabilities

187 Using the D70 as a Commander188 Using the D80, D90, D200,

D300, or D700 as a Commander192 Using the D40, D40x, D50, or

D60 as a Commander192 Using the D2-series or

D3-series as a Commander192 Using the F6 as a Commander

Table of Contentsviii

212 Batteries and Power Options

213 Battery Choices for SB-600, SB-800, and SB-900

213 When You Need More Capacity214 Battery Management215 Battery Choices for SU-800 and

SB-R200

216 Camera-Based Functions for Your Flash

217 FV Lock218 Auto FP High Speed Sync Mode221 Flash Shutter Speed222 Flash Off 223 Modeling Light with DOF Preview

Button224 Flash Bracketing

212 Batteries and Power Options

213 Battery Choices for SB-600, SB-800, and SB-90

12

216 Camera-Based Functions for Your Flash

217 FV Lock218 Auto FP High Speed Sync Mod

13

228 Case Studies and Examples

230 Event Photography: On-Camera Flash Combined with Ambient Window Light

231 Event Photography: Single Flash on Flash Bracket in Low Light Situations

232 Travel Photography: Single Dedicated Flash on TTL Cable

233 Travel Photography: Single Dedicated Flash on TTL Cable

234 Travel Photography: D200 Com-mander and SB-800 Wireless Remote

235 Residential Scene: Commander and Remote

236 Outdoor Portrait: Pop-up Flash237 Outdoor Portrait: Single Flash as

Remote, D200 as Commander238 Outdoor Portrait: One Commander,

Multiple Remotes239 Indoor Portrait: Single Commander

on Cable and Single Flash as Remote240 Indoor Portrait: Commander and

Multiple Remotes241 Product Shot: Multiple Remote

Flashes242 Macro Photography: Two Remotes,

D200 as Commander

228 Case Studies and Examples

230 Event Photography: On-Camera Flash Combined with Ambient

14

Table of Contents ix

244 Lighting Kit and Product Recommendations

245 Kit Recommendations246 Product Recommendations

244 Lighting Kit and Product Recommendations

245 Kit Recommendations246 Product Recommendation

15250 Common Questions and

Answers

255 Nikonians Voucher257 Image credits259 Index

250 Common Questions and Answers

255 Nikonians VoucherImage credits

16

Table of Contentsx

Foreword

It is a great pleasure to present this book, the second publication in the Nikonians Press series. Both volumes are easy-to-read reference books aimed to reinforce what the Nikonians Academy Workshops teaches throughout North America (soon expanding to Europe).

Author, Mike Hagen, is an avid adventurer who combines his passion for the outdoors with excellence in photography. He is a skilled digital photography instructor, location photogra-pher, workshop leader, and editorial writer. He started Out There Images in 1998 as a way to share his passion for photography with others.

Powered by nikonians.org, the worldwide home for Nikon Photographers of all skill levels, the Nikonians Academy was created to extend into a small classroom setting an even more intense sharing, learning, and inspiring experience than is found in the Nikonians community forums.

In early 2005, Mike was appointed Director of the Nikonians Academy and he has been giving such sharing, learning, and inspiring experiences to over 6,000 students since then. All of the students are raving about it, whether taking a class with Mike as well as with other instructors. Mike’s skills as an excellent teacher have helped him become very successful in engaging instructors for the Academy who share and live the same academic values.

Mike is well known for his intensity, energy, and enthusiasm. If you have the opportunity to participate in a workshop with him, you will be pleasantly surprised by his patience, generosity, and infectious enthusiasm for imparting his knowledge to all participants. Those same virtues, along with his thorough knowledge of the subject matter, are obvious in the pages of this volume we present.

For many years, the use of flash was confined to the professionals. The taking of flash pictures was a dreaded nightmare and seemed reserved for the few professionals who made their living with it. Efficient handling of a slide rule and measuring tape seemed indispensable. It was not until 1988 when the Nikon flash system took “a quantum leap forward” with the introduction of the SB-24, opening the doors to us common mortals, and even to the occasional snap shooter—with cameras such as the N8008s or F4s—allowing for full fledged, natural looking TTL (Through The Lens) auto flash.

Foreword xi

Nikon engineers later surprised us further with i-TTL, where the “i”, which was meant for intelligent, became an “i” for incredible. This innovation opened the door for the use of multiple flashes, and the simple slave units were no longer needed. Such capability was not only integrated into the new Speedlights, but it also allowed for several groups of flash units and communication with them through several channels. And so the amazing Creative Lighting System was born.

How it works and how to make the best of it for individual conditions is what this book is all about, made easy by Mike Hagen.

Nikonians is very proud of this joint venture with Rocky Nook, and we work together to present more volumes to the hungry world for knowledge from Nikon users.

We do hope you enjoy it.

Bo Stahlbrandt and J. Ramon PalaciosFounders and Administratorswww.nikonians.org

11CLS Background

CLS Background

What Are CLS and iTTL

11What Are CLS and iTTL?

In Nikon’s terminology, CLS and iTTL both frequently refer to the same thing. � e two terms are o� en used interchangeably, even though they stand for di� erent words.

CLS stands for “Creative Lighting System” and references the entire Nikon wireless � ash system. It includes the � ashes, cameras, and accessories that all work together in the system.

iTTL stands for “Intelligent � rough � e Lens”. � e “i” does not mean intelligent in the sense that the � ash system is really think-ing, but rather that the system communicates between the � ashes and the camera body with wireless � ash pulses. � ese pulses of light (pre-� ashes) are used by the camera body to judge brightness, colors, and exposure.

� e term “� rough � e Lens” indicates that the camera body is integral to the opera-tion of the � ash system because it meters � ash output through the lens. In fact, unless you have an iTTL-compatible camera, you can’t shoot in wireless mode with CLS � ashes. When you take a photograph, the camera’s matrix metering system analyzes light re� ect-ed back from the scene by the pre� ash, and then quickly makes a � ash output decision before it opens up the shutter.

iTTL is a relatively new system from Nikon that is better and more con� gurable than their previous D-TTL system. Nikon CLS wire-less communication can control multiple Remote � ashes automatically. In order to take full advantage of the Nikon wireless system, you must use a CLS-compatible Commander � ash and a CLS-compatible Remote � ash. Sometimes the Commander � ash is called the “Master”, and sometimes the Remote � ash is called the “Slave”.

Here’s the cool part of the Nikon � ash system: the iTTL mode works with your camera’s standard pop-up � ash; with an SB-, SB-, SB-, SU-, or RC mounted on-camera; or in wireless mode. For example, if you are using your D’s

pop-up � ash, and it is programmed for TTL (CSM e), then your D is operating in iTTL mode (� gure .). � is just means that the � ash will use pre-� ashes to better gauge the � nal exposure.

Another example is if you have your SB-, SB-, or SB- � ash mounted on the camera and the back of the � ash says TTL BL, then you are in iTTL mode (� gure .). Again, this just means the � ash will � re pre� ashes to get the � nal exposure.

Figure . - SB- is set up in TTL BL fl ash mode

Figure . - D CSM e fl ash is set up to be a com-mander fl ash for two remote fl ashes. Group A and Group B are in TTL mode which really means iTTL.

CLS Background

11Here is one more example: if you are using

your system with wireless � ashes, and the Commander � ash unit says “TTL” for any of the groups, then you are still using the iTTL system since the camera is evaluating the pre-� ashes. Figure . shows what this looks like in a D. Figure . shows what this looks like when the SB- is con� gured as a Commander � ash unit. Again, the system uses pre-� ashes to determine the appropriate exposure.

Whenever you have Nikon strobes set up in wireless mode, the camera uses pre-� ashes from all the Remote � ashes to deter-mine exposure. Imagine that! � e camera can actually judge light output from all the Remote � ashes before the shutter opens, and then it can control the � ash for the real expo-sure when it takes the shot. I tell you, this system is amazing!

When you are using an SB-, SB-, or SU- as an on-camera Commander � ash, the system works as described in � gure . and shown in � gure .. � e Speedlight sends a pre-� ash before the camera shut-ter opens up. � e camera reads the pre-� ash information and very quickly makes a calcu-lation which it will use during the real � ash. When the camera shutter opens to take the photo, the � ash � res and gives the correct exposure for the scene (or what we hope is correct!).

Even though this system is fairly smart and does a good job most of the time, it can still be faked out. Chapter will cover some common � ash scenarios, such as strong backlighting and bright white subjects, that tend to confuse the iTTL system.

� ere are a number of di� erent types of Commander � ash units available from Nikon. � e Commander � ash unit can be an SB-, SB-, or SU- Speedlight. � ere

Figure . - D CSM e fl ash mode is set for Commander mode. This means the pop-up fl ash is a Commander unit, and it is driving the Remote fl ashes as TTL fl ashes. The remote fl ashes are actu-ally operating in iTTL mode.

Figure . - SB- is in wireless Commander mode showing TTL for Group A

What Are CLS and iTTL

11are also some Nikon digital SLR cameras with pop-up � ashes that can be programmed to operate as Commanders, such as the D, Ds, D, D, D, D, and D.

� ere are many SLR cameras in the Nikon product line with pop-up � ashes that aren’t capable of being Commander units, such as the D, Dx, D, and D. � e cameras will allow you to use an SB-, SB-, or SU- as a Commander, but they don’t allow you to use the built-in � ash as a Commander. Figure . - The iTTL prefl ash sequence

Figure . - Here is the entire fl ash sequence from start to fi nish. You can clearly see the rapid pulses of light from the Commander fl ash as it completes its prefl ash sequence and “real” fl ash sequence. This pho-to was taken by opening the shutter on one camera while taking a picture with the camera in the scene. I quickly moved the camera from left to right while I took the image so that you could see the individual fl ash pulses. The fi rst pulses are the prefl ashes and the communication with the remotes. The last fl ash is the “real” fl ash.

CLS Background

11 What Works with iTTL?

Any of Nikon’s newer CLS compatible � ashes work with the wireless � ash system (table .). Also, newer Nikon � lm and digital SLRs work with the iTTL system (table .).

What Doesn’t Work with iTTL?

Unfortunately, Nikon’s previous � ash technol-ogy does not fully integrate with the newer iTTL � ash system. If you have an older Speed-light such as the SB- or SB-, it won’t fully integrate with iTTL because it can’t “see” the pre� ashes. Tables . and . show which � ashes and cameras are not compatible with the Nikon CLS.

CLS Compatible Cameras

D/Dx

D

D/Ds

D/D

D/D/D

DH/DX/D

F

Table . - These Nikon SLR cameras are compat-ible with the Nikon CLS fl ash system

Nikon Flashes Not CLS Compatible

SB-

SB-

SB-

SB-/SB-DX

SB-/SB-DX

SB-

Table . - These Nikon fl ashes are not compatible with the Nikon CLS

Nikon Cameras Not CLS Compatible

D/DX/DH

D

F/F

F

N

N/Ns

Table . - These Nikon SLR cameras are not com-patible with the Nikon CLS

CLS Compatible Flashes

Flash Capabilities

SB- Dedicated

Remote

SB- Dedicated

Commander

Remote

SB- Dedicated

Commander

Remote

SU- Commander

Remote

SB-R Remote

Table . - These Nikon fl ashes are compatible with the Nikon CLS fl ash system

Can I Use the SB-, SB-, or SB- on My Old Camera Body

11It is important to note the vast majority of

Nikon’s camera bodies made before are not CLS compatible. � is means the SB-, SB-, and SB- won’t work in wireless mode (or in iTTL mode, for that matter) with cameras such as the D, Ns, F, D, FM-, or the venerable F.

� ere are other digital camera systems that use Nikon bodies but are manufactured by other companies, such as Fuji and Kodak. At the time of this writing, camera systems such as the Fuji S, Fuji S, Kodak DCS n, etc., do not support CLS. � e Fuji S camera does support the new iTTL wireless � ash system from Nikon since it is fundamentally a Nikon D with a Fuji imaging sensor and Fuji so� ware.

Can I Use the SB-600, SB-800, or SB-900 on My Old Camera Body?

If you have an SB-, SB-, or SB- and want to use it on the older Nikon camera bodies or with the Fuji/Kodak systems, they will work just � ne in non-iTTL � ash modes such as:

TTL (i.e., regular TTL)• Non-TTL Auto Flash (A or AA)• Manual Flash (M)• I use my SB- and SB- � ashes on

older � lm cameras and they work great! For example, � gures . and . show an SB- mounted on a Nikon FM- and a Nikon N. In both situations, the � ash works just � ne. On the FM- it will work as a Manual or A � ash; on the N it will work as a Manual, A, AA, or TTL � ash.

Figure . - Nikon FM- fi lm camera with the SB- used as a Manual (M) mode fl ash. This fl ash would also work in A mode.

Figure . - Nikon N fi lm camera with the SB- used as an Auto mode fl ash. This fl ash would also work in TTL mode and M mode.

CLS Background

11 What is D-TTL?

Although a thorough discussion of D-TTL is beyond the scope of this book, it makes sense to at least understand what it is … so we know what it isn’t!

D-TTL was Nikon’s � rst successful attempt at automating � ash exposures by incorporating focus distance into the expo-sure calculation. Nikon began integrating computer chips into their lenses that would “talk” to the camera body and tell it at what distance it was focused. � ese lenses are called D lenses since they encode focus distance as a part of their general operation.

Once the camera body calculates the focusing distance, it can then tell the � ash how much power to put out for the subject. � is system assumes that the subject is the same distance from the � ash and the lens, and produces relatively accurate exposures very quickly.

Before the D-TTL system, photogra-phers had to rely on manual � ash exposure calculation or use “Auto � yristor” types of � ashes (i.e., Vivitar ). D-TTL was a great leap forward and dramatically reduced the time photographers had to spend � ddling with their � ashes. It also produced excellent results (� gure .).

D-TTL � ash systems do not perform the pre-� ash function, therefore they are not compatible with iTTL � ash systems. What this means is that an older SB, SB, or SB-DX won’t work directly with the newer iTTL cameras like the D, D, or D. In other words, the older � ashes are not forwardcompatible.

I know I just said that the D-TTL � ashes aren’t forward compatible with iTTL camer-as; however, you can use them in Manual mode or A mode on the D, D, D, D, D, D, D, D, D, DX, DH, D, and F.

Figure . - Nikon N fi lm camera with SB- used as a TTL mode fl ash. This mode is actually the older D-TTL mode that uses lens focusing distance to help the fl ash determine proper exposure.

Capabilities of CLS

11Capabilities of CLS

One of the neatest capabilities of the Nikon CLS is the ability to control multiple � ashes without wires attached. � is basically means you can set up Remote � ashes in the � eld and then control

them independently from the Commander flash. If one of the flash units is putting out too much light, you can tell it to power down by . stops or . stops or whatever (figure .).

Figure . - Diagram of a wireless setup. Each Group can contain one fl ash or multiple fl ashes, and they are all controlled by the Commander fl ash unit mounted on the camera body (or the pop-up fl ash from a D/D/D/D/D).

CLS Background

11

� e system is very � exible and quick, so it allows you as a working photographer to set up shots in a minimal amount of time and get stunning results. For example, it only took a few minutes to set up, shoot, and dismantle the photograph in � gure ..

If you use the SB-, SB-, or SU- as a Commander unit, you can control up to three separate Groups of � ashes. For exam-ple, you can set up a key (main) light, a � ll light for the subject, and a third light for the background (� gure .). All three � ashes (or Groups of � ashes) can be controlled independently.

Each Group can then have multiple � ashes in it. For example, Group A can have three Remote units, Group B can have one Remote unit, and Group C can have � ve Remote units. Each � ash within the Group is controlled by the Commander � ash. If you program the Commander � ash to make Group A brighter by + stop, then all the � ashes in Group A will put out + stop of light.

Beyond the relatively simple control of Remote � ashes in TTL mode, you can control Remote � ashes in Manual mode as well as in Auto � ash mode. Manual mode means that you determine the amount of power the � ash outputs every time (i.e., / power). Auto Aperture means the � ash will � re and determine its own exposure using its built-in light sensor. � e exposure from the Auto � ash setting will be independent from the camera’s TTL exposure control. � ese two topics are discussed in more detail in the SB- chapter (chapter ), the SB- chapter (chapter ), and the SB- chapter (chapter ).

Additionally, the CLS allows for strobo-scopic � ash and group stroboscopic � ash. � is is a great tool for people who want to take multiple � ash exposures for each frame/exposure. � is function is discussed in more detail in the SB- and SB- chapters (chapters and ).

Figure . - Here is a portrait taken with a simi-lar setup to the diagram in fi gure .. Three Remote Groups and one Commander unit were required to make this shot. See fi gure . for the actual setup.

Capabilities of CLS

11

Figure . - Here is the setup used for the photo in fi gure .. The fl ash on the left is a wireless SB-, on the right is an SB-, and behind is an additional SB-. Notice that there are no wires! All of the Re-mote fl ashes are controlled by the Commander SB- on the DX camera.

22

Quick Start Guide

Quick Start Guide

Just Show Me How to Set it Up!

� is chapter is for folks who want a quick start guide to using their � ashes. Keep reading the book to learn the background and theory, but this chapter will help you get started.

Using Your Flash (SB-, SB-, or SB-) on the Camera

. Turn o� camera and � ash. Place � ash on camera. Turn on camera and � ash. Set camera light meter to Matrix. Set camera � ash sync mode to Normal

or Slow + Rear. Push MODE button on � ash until you

see TTL BL. Set power on � ash with +/- buttons

(i.e., -/ or +.). Take picture

Using Your Flash (SB-, SB-, or SB-) with a TTL Remote Cord (SC-, SC-, or SC-)

. Turn o� camera and � ash. Mount TTL cable to � ash and camera. Turn on camera and � ash. Set camera light meter to Matrix. Set camera � ash sync mode to Normal

or Slow + Rear. Push MODE button on � ash until you

see TTL BL. Set power on � ash with +/- buttons

(i.e., -. or + /). Take picture

Using Your SB- Flash as a Wireless Remote (Slave)

. Turn on � ash. Simultaneously press the ZOOM

and - buttons for two seconds. Press + button until you see the

squiggly arrow box. Press MODE button until you see ON. Press ON/OFF button. Press MODE button to navigate to

Channel. Press + or - button to change Channel. Press MODE button to navigate to

Group. Press + or - button to change Group. Make sure Commander (Master)

� ash is set to same Channel and Group

. Take picture

Quick Start Guide

22Using Your SB- Flash as a Wireless Remote (Slave)

. Turn on � ash. Press SEL button for two seconds. Press the ZOOM buttons and/or the +

and - buttons until you navigate to the squiggly arrow box

. Press SEL button. Press - button until you navigate to

REMOTE. Press SEL button. Press ON/OFF button quickly. Press SEL button to navigate to Channel. Press + or - button to change Channel. Press SEL button to navigate to Group. Press + or - button to change Group. Make sure Commander (Master) � ash is

set to same Channel and Group. Take picture

Using Your SB- Flash as a Wireless Commander (Master)

. Mount � ash on camera. Turn on � ash and camera. Hold SEL button for two seconds. Press the ZOOM buttons and/or the +

and - buttons until you navigate to the squiggly arrow box

. Press SEL button. Press - button until you navigate to

MASTER. Press SEL button. Press ON/OFF button. Press SEL button to navigate to Master,

Group A, Group B, Group C, and CH settings

. Press + and - buttons to change � ash output

. Press MODE button to change Group � ash mode

. Make sure Remote � ashes are set to same Channel and Groups

. Take picture

Quick Start Guide

Quick Start Guide

22

Using Your SB- Flash as a Wireless Remote (Slave)

. Turn � ash power switch to REMOTE. Press Function Button to access Group. Rotate Selector Dial to set Group. Press Function Button to access

Channel. Rotate Selector Dial to set Channel. Make sure Commander (Master) � ash is


Using Your SB- Flash as a Wireless Commander (Master)

. Turn � ash power switch to MASTER. Press Function Button to navigate to

Master, Group A, Group B, and Group C settings

. Press MODE button to change to TTL, A, M or - - -

. Press Function Button to navigate to � ash output

. Rotate Selector Dial to change � ash output

. Press the OK button. Press Function Button to access

Channel. Make sure Remote � ashes are set to

same Channel and Groups. Take picture

Using Your SU- Flash as a Wireless Commander (Master)

. Open SU- battery chamber and set switch to Commander mode

. Turn on � ash. Press SEL button to navigate to Group A,

Group B, Group C, and CH settings. Press MODE button to change to TTL,

A, M or - - -. Press le� arrow or right arrow to change

value of Group or Channel. Make sure Remote � ashes are set to

same Channel and Groups. Take picture

Using Your SBR- Flash as a Wireless Remote (Slave)

. Turn on � ash. Rotate Channel dial to correct channel. Rotate Group dial to correct group. Make sure Commander (Master) � ash is


Using Your D Pop-Up as a Wireless Commander (Master)

. Turn on camera. Press MENU button on back of camera. Go to CSM . Choose Commander mode. Choose TTL. Pop up the � ash by pressing the FLASH

button on camera body. Set shutter sync to Normal or Slow +

Rear. Make sure Remote � ashes are set to

CH , Group A. Take picture

Quick Start Guide

22


. Turn on camera. Press MENU button on back of camera. Go to CSM . Choose Commander mode. Press Multiselector on the right to

navigate between Built-in, Group A, Group B, and Channel

. Press Multiselector up and down to change values in MODE and COMPENSATION boxes

. Press the OK button. Pop up the � ash by pressing the FLASH

button on camera body. Set shutter sync to Normal or Slow + Rear. Make sure Remote � ashes are set to same

Channel and Groups. Take picture


. Turn on camera. Press MENU button on back of camera. Go to CSM e. Choose Commander mode. Press Multiselector to the right to



. Press the OK button. Pop up the � ash by pressing the FLASH



Using Your D, D, or D as a Wireless Commander (Master)

. Turn on camera. Press MENU button on back of camera. Go to CSM e. Choose Commander mode. Press Multiselector on the right to



. Press the ENTER or OK button. Pop up the � ash by pressing the FLASH



Using Your DH, DHs, DX, DXs, or D as a Wireless Commander (Master)

. Mount SB-, SB-, or SU- � ash on top of camera

. Set up the � ash as a Commander (instructions above)

. Take picture

Using Your D, Dx, D, or D as a Wireless Commander (Master)

. Mount SB-, SB-, or SU- � ash on top of camera

. Set up the � ash as a Commander (instructions above)

. Take picture

33

Flash Theory

Flash Theory

Light

33

Understanding � ash theory can be very ben-e� cial to your photography, even though it can be tedious and di� cult to learn. I will publically state that lack of knowledge is almost always to blame for my bad shots. � erefore, I endeavor to learn as much as possible about � ash photography so I can solve problems in the � eld. I encourage you to do the same.

I will go into some limited technical details in this chapter and also give some simple rules of thumb for those who want to skip the math lessons!

Light

As you know, photography is all about cap-turing light. When you don’t use � ashes in your exposure, then you simply capture ambient light. In other words, you capture the light already in the scene—the sun, a roomful of � uorescent lights, or even a single candle (� gure .).

You control the amount of ambient light that enters your camera by setting the shut-ter speed and the lens aperture. A longer shutter speed and a bigger aperture let in more light. The combination of the two determine how much ambient light makes it into your final exposure.

When you take a picture that includes flash, you must account for the brightness of the flash as well as the brightness of the ambient light. In effect, you are balancing two exposures: one for the ambient light and one for the flash output. Control the flash output by dialing the power up or down with the flash’s + and - buttons (figure 3.2).

Figure .: Frequently, you must work carefully to balance fl ash output with ambient light. You can do this with the +/- buttons on the fl ash unit.

Figure . - Photos like this one are a combination of ambient light (background) and light from the fl ash (usually the foreground). Shutter speed determines the amount of background light, and fl ash output sets the foreground light. DX, SB- mounted on SC- cord.

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How a Flash Fires

When broken down to its simplest elements, the � ash consists of the following three sys-tems:

Batteries• Capacitor• Flash Tube• When you turn the flash on, the batter-

ies fill the capacitor with energy (figure .). Think of the capacitor as a water tank. When the capacitor is filled to the top, the batteries stop adding more energy. When you take a photograph, the flash uses energy from the capacitor and sends it to the flash tube (also called the flash head) where it makes a pulse of light. The camera’s TTL system controls the amount of power sent to the flash tube, and the matrix meter deter-mines how much power the flash puts into the scene.

Controlling the Power

Fundamentally, there are three methods of controlling � ash output:

TTL and TTL BL (camera controls the • power)Automatic (� ash controls the power)• Manual (you control the power)• The first method, TTL, uses the camera’s

light meter to figure out how much energy is dumped from the capacitor and how much is needed to expose the subject at medium brightness ( gray). In TTL terms, this is called .. Figure . shows what . looks like in an exposure.

If you press the +/- buttons on the back of the flash when you are in TTL mode, you can change the amount of energy your flash will output. For example, if you dial in +., then your flash will put out one stop more power than . (see the next section called “Stops”). Also, note that the SB-, SB-,

Figure . - Simple diagram of a fl ash. Energy from the batteries fi lls the capacitor. When you take a picture, the capacitor dumps the correct amount of power to the fl ash tube to provide a good fl ash exposure.

Figure . - These three images show the results of changing the +/- settings on the fl ash between -., ., and +.. They were taken with a D pop-up fl ash against a white piece of paper. Notice that . is indeed medium brightness, also known as gray (middle gray).

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and SB- have two TTL modes: TTL BL and TTL. TTL BL (Automatic Balanced Fill Flash), a newer flash mode for Nikon, works to balance the light between the background and the subject. TTL (without the BL) is similar to Nikon’s older flash mode which only puts out enough light for the subject. In other words, regular TTL doesn’t try as hard to balance the flash with the back-ground. These modes are discussed in detail in chapters , , and .

The second method of controlling flash power is Automatic Flash mode. Access this mode by pressing the flash’s MODE button until you see the icon A or AA. The SB- does not have Automatic Flash mode; only the SB- and SB- have it (figure .).

When you operate in Automatic Flash mode, the camera does not have a say in the final flash exposure because the flash oper-ates independently. In other words, the flash calculates how much light it needs without using the camera’s TTL system (figure .).

� e SB- has two automatic � ash modes, Auto and Auto Aperture (� gure .), which are covered in detail in chapters and . In Figure . - Here is the MODE button on the SB-

Figure . - AA mode on the SB- (left) and A mode on the SB- (right)

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both modes, the flash uses its own built-in photocell (figure .) to figure out when it has received the appropriate amount of light for the scene (i.e., medium brightness or gray). Once the photocell is happy, it shuts off power from the capacitor and stops the flash output.

Based on this information, you can still vary the � ash output from . by pressing the +/- buttons. � e � ash will put out more light or less light depending on what you choose.

� e third method of controlling � ash power is Manual mode. Select it by pressing the MODE button until you see the letter M in the upper le� corner. When shooting in Manual mode, you basically tell the � ash what fraction of the full capacitor to use by pressing the +/- buttons. For example, if you set the � ash to /, it means that the � ash will dump of the capacitor for the

shot. Another term for / is “full power”. If you have the � ash set to / (� gure .), it will use / of full power during the photograph.

Figure . - Auto Flash Light Sensor on the SB- and SB- (arrows)

Figure . - Manual mode with fl ash set to / power

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Stops

All photographic exposures are set up in terms of stops. When photographers say “open up a stop” or “stop it down a bit”, what we really mean is “add more light” or “take away some light”. One of the more confusing aspects of flash photography is learning what it means to program + or -. into your exposure system.

In photography, one stop equals either double or half the amount of light. For exam-ple, if you set the � ash to +., you increase its � ash output by one stop. Stated another way, you double the amount of light it emits onto the scene. On the other hand, if you set the � ash to -., then you cut its output by two stops. In other words, you reduce the amount of light onto the scene to / ().

In general, all automatic camera systems strive to create exposures at medium

brightness. For example, if you set your � ash at ., then your exposure system works to make the scene medium brightness (like the middle turtle in � gure .). However, in most of your � ash work, you will frequently want to change � ash output in response to scene brightness when using TTL and TTL BL.

For example, if your subject is mostly dark like � gure ., then you will probably have to dial down your � ash output. For a brighter subject like � gure ., you will probably have to dial up your � ash output.

Figure . has mostly dark tones (hat and shirt), while � gure . has mostly light tones (wall, dress, and � oor). � e camera’s TTL system works by looking at the entire scene, not just the face of the person. So when I talk about brightness, I refer to the total scene.

Now, back to stops. While stops are a quick and easy way to change the brightness

Figure . - I dialed down the fl ash power to -. to make sure the TTL system would not expose this scene at medium brightness. DX, SB- on SC- cord bounced off ceiling.

Figure . - I dialed up the fl ash power to +. to make sure the TTL system would not expose this scene at medium brightness. D, SB- mount-ed on camera and bounced off ceiling.

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of your exposures, the change is not linear but rather exponential. +. gives you twice the light, +. four times the light, and +. eight times the light.

Always remember that the plus and minus values are based on what the camera’s expo-sure system judges as medium brightness. So if you dial in +., you are telling the expo-sure system to put out twice as much light from the � ash as .. If you dial in -., then you are telling it to put out half the light.

Thirds of a Stop

All Nikon flash units have the ability to change flash power in third-of-a-stop incre-ments. The SB- and SB- show this by decimal points on the flash’s LCD panel (figure .). For example, it will say -.. The SB- shows the fraction rather than the decimal on the LCD panel (figure .). For example, it will say -/. The values -. and -/ are exactly the same.

� e ability to � ne tune exposures to within a third of a stop is very important, especially in digital photography. Since digital capture

does not permit a wide exposure range, over-exposing or underexposing your shots will result in photos that can’t be printed with full tonality.

So try to nail the exposure within -. stops to +. stops. Anything outside of that range, and you will get noise artifacts or highlight clipping when you attempt to adjust the photo later. Even the magic of Photoshop can’t � x blown highlights if they were captured that way. � erefore, I encour-age you to nail the exposure when you take the photo. Get it right in the camera!

Guide Number

Your flash has a power rating called a Guide Number that describes how powerful it is and how far it will shoot. As with all good things in photography, you can use a math-ematical formula to figure out how your camera’s aperture should be set. Back in the good old days, we used to do manual flash calculations based on the power of the flash and the distance Aunt Sally was standing from it. Using this calculation, we could

Figure . - The SB- shows thirds of a stop in decimal format

Figure . - The SB- shows thirds of a stop in fraction format

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figure out how to set lens aperture with this simple equation:

To put this equation into practice, you would need to follow these steps:. Select your � ash’s Guide Number

SB- = • SB- = • SB- = •

. Set � ash to Manual mode and / power (full power)

. Set camera to ISO . Set camera to Manual Exposure. Measure distance from � ash to subject

Now use the above equation to set the aperture in your camera for a good exposure.

Here’s a typical example using Guide Number calculations. Let’s say you are taking a portrait and your model is feet away from the � ash. Using the SB-, you would divide the Guide Number () by the distance ( feet) to get an aperture of about f/.. You then set f/. in the camera and take the shot. (� is assumes you are shooting at ISO .)

Notice there is no mention of shutter speed in the Guide Number calculation. � is is because shutter speed controls the brightness of ambient light. We use the Guide Number calculation to help control the � ash exposure. It bears repeating: shutter speed controls the amount of ambient light, and aperture controls the amount of light from the � ash.

Camera Sync Modes

Nikon camera systems typically have � ve shutter sync modes on the camera body. Of-� cially, they are called “Shutter Synchroni-zation Modes”. Uno� cially, they are called “kinda confusing”.

� ese � ve sync modes are:. Front Curtain (Normal). Front Curtain + Red-eye (Normal + Red-

eye). Slow. Slow + Red-eye. Slow + Rear

� e shutter sync mode determines when the � ash � res during the exposure. More speci� -cally, it tells the � ash whether to � re at the beginning of the exposure or at the end of the exposure. It also tells the � ash whether or not to help reduce red-eye. � e beginning of the exposure is de� ned as the moment when the camera’s front curtain � rst moves entirely out of the way of the CCD. � e end of the exposure is de� ned as the moment when the camera’s rear curtain begins to close over the CCD.

Each of these modes is used in di� erent circumstances and is largely independent of the � ash mode settings such as TTL BL, TTL, Manual, AA, etc. Shutter sync mode is also independent of the quantity of � ashes you use. For example, if you set your camera for Normal Sync, it will behave the same way whether you are using the pop-up � ash, an SB- mounted on the camera, or � ashes in a wireless setup.

To select the modes, press and hold the Flash button on your camera body and then rotate the main command dial on the back of the camera. Figures . and . show how

Figure . - The Flash mode button is generally found on the lefthand side of most Nikon SLRs

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to make the selection. When you do this, you will see a � ash icon on the camera’s LCD panel with a little lightning bolt. Inside the box, you will see di� erent designations such as SLOW, REAR, and a red-eye symbol (� gure .).

Let’s talk about each of these modes and when to use them.

Front Curtain Sync (Normal Sync)Front Curtain Sync, or Normal Sync, in-structs the � ash to � re as soon as the front shutter curtain of the camera has been fully raised. � is is another way of saying that the � ash � res at the beginning of the exposure. You can see what the symbol looks like in � gure ..

Using Normal Sync signi� es that the camera’s shutter speed will probably default to / second. Most of the newer cameras have a custom setting so you can choose what the default shutter speed will be. For example, on the D, you can go into the custom menu called Flash Shutter Speed (CSM e) and choose / second, / second, seconds, or whatever you want. � is is commonly referred to as your “sync speed”.

Remember, the shutter speed in Normal Sync mode is the minimum (slowest) speed that the camera will use for its exposures. So if

Figure . - While pressing the Flash mode button with your left fi nger, rotate the command dial with your right thumb to see the diff erent sync modes

Figure . - Shutter Sync Modes

Figure . - Front Curtain Sync, also referred to as Normal Sync. The icon for this setting is a box with a fl ash symbol (lightning bolt). Notice that there are no other words or symbols inside the box.

Auto FP High Speed Sync Mode

Most of the higher-end Nikon cameras have a mode called Auto FP High Speed Sync that al-lows the � ash to sync at shutter speeds of up to / second. See chapter for more details.

Figure . - Normal Sync. Two wireless strobes were used for this photograph, and no ambient light was captured. D, SB-, SB-, f/., / second.

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33

your subject is very dark, the � ash will be the only light in the � nal photograph (� gure .).

On the other hand, let’s say you want to take your photo outside in the middle of the day. In this case, it might be bright enough to require a faster shutter speed than / second, so your camera’s metering system may choose a faster shutter speed. In fact, assuming you are in an auto exposure mode like Aperture Priority, your camera will choose a shutter speed up to its fastest possible sync speed. For example, the D sync speed is / second, the D sync speed is / second, the F sync speed is / second, and the D sync speed is / second. Figure . shows a good example of this; the photo was taken outdoors in Normal Sync, but the camera chose a faster shutter speed than / second.

When you choose Normal Sync and an auto exposure mode (e.g., Aperture

Priority), the LCD readout will say “HI” if it wants to use a shutter speed faster than the fastest shutter sync speed (e.g., / second for a D). In this scenario, the camera will still allow you to take the shot, but the exposure will be horribly blown out and overexposed. Look at the examples in figure ., and you’ll see what I mean!

The Nikon literature says that Normal Sync should be used for “most situations”; however, I disagree. As with most generic camera settings, the standard setting is not the best for everything. My approach is to understand what happens in a specific mode and then apply that knowledge to a specific shooting situation.

So when should you use Normal Sync? I suggest using it when you photograph people or subjects in very dark locations where you don’t care about the background, such as

Figure . - This photo was taken in Normal Sync. The camera didn’t take the background lighting into account, but it was bright enough for the am-bient light to contribute to the photograph. D, SB-, f/, / second.

Figure . - The shot on the left represents what happens when you exceed the camera’s maximum shutter sync speed for the fl ash. In this case, the im-ages were taken with a D, which has a maximum shutter sync speed of / second. The soccer ball was a decoration at a birthday party and the sun shone directly on it. The image was taken at f/., and the shutter speed showed “HI”. This meant that there was too much ambient light for a / sec-ond shutter speed. The camera still allowed me to take the photo, but you can see that it was dramati-cally overexposed. The next image was taken at f/, and the shutter speed was / second. Now it is a manageable photograph and well exposed to boot! The moral of the story is to watch your shutter speed and make sure that it never goes faster than the camera’s maximum sync speed.

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� gure .. In this type of scenario, I set up with a � ash bracket and bounce the light o� the ceiling, a wall, or a re� ector (� gure .).

I also use Normal Sync to create a typical studio arrangement with my � ashes, like the studio portrait in � gure .. Normal Sync typically eliminates the ambient light and allows me to use only the � ashes for lighting the scene.

Front Curtain + Red-eye Sync (Normal + Red-eye Sync)� e icon for Red-eye Sync on the camera, shown in � gure ., is a box with a lightning bolt and an eyeball inside. Red-eye is usually caused by light from the � ash re� ecting o� the back of your subject’s retina (� gure .). If your � ash is in close alignment with your lens, like a pop-up � ash, then many of your � ash shots will result in red-eye. Red-eye gets worse when your subject’s pupils are very big, e.g., in a dark room or in the shade of a tree.

� e Red-eye Reduction mode di� ers depending on the type of � ash you use. If you use the SB-, SB-, or SB- � ashes, then Red-eye Reduction mode results in a series of quick light pulses just before the shutter opens. If you use your camera’s pop-up � ash, Red-eye Reduction is accomplished by illuminating your camera’s Red-eye Reduction Lamp. � is lamp is very bright and can be annoying, so I don’t recommend using it. Be nice to your subjects and turn o� the red-eye lamp (� gure .)!

� e best way to eliminate red-eye is simply by moving the � ash farther away from the camera body. � ere are a few ways to do this, such as using a TTL cord and a � ash bracket or setting up your system in Wireless Remote Mode to completely separate the camera and the � ash.

I encourage you to stop using the Red-eye Reduction mode in your camera unless you don’t own an accessory � ash. Not only is on-camera � ash more prone to red-eye, it also rarely produces excellent results. Since

Figure . - This photo was taken in Normal Sync. Notice the background is very dark since the cam-era shot the photo at / second shutter speed. D, SB-, bounced off refl ector on the left.

Figure . - Front Curtain + Red-eye Sync as shown on the D. This is also referred to as Nor-mal + Red-eye Sync.

Figure . - Red-eye is caused when the fl ash refl ects off the rear of your subject’s eye and back to the camera. Your camera’s pop-up fl ash causes most red-eye problems. You can eliminate red-eye by shooting with off -camera fl ash. Thank goodness for wireless fl ash control!

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you aspire to obtain more professional results, do everything you can to get the � ash o� the camera, and you will never have to worry about red-eye again. Problem solved!

Slow SyncThe Slow Sync icon, shown in figure ., is a box with a lightning bolt and the word SLOW. I like using Slow Sync mode when I want to incorporate ambient light with flash, as in figure ..

� e standard Slow mode is a Front Curtain Sync mode. � is means that the camera � res the � ash at the beginning of the exposure and then keeps the shutter open for the ambient light exposure. Perhaps a better name for this mode would be Slow Front.

A great time to use this mode is when the subject is stationary, such as a statue, tree, building, etc. If you aren’t careful and the subject is moving, you will get motion blur (figure .). You can use the blur as a

creative element, but it takes considerable skill to get the motion blur just right. The blur can quickly become a distraction. For example, if you photograph someone danc-ing at a wedding and use Slow Sync, then the dancer will probably have some motion blur due to the long exposure. Since this mode is also a Front Curtain Sync mode, the flash fires at the beginning of the exposure. This results in the dancer being frozen in place by the flash at the beginning of the movement. Then, the shutter stays open and the person continues to move. The resulting

Figure . - This shot is a good candidate for Red-eye Reduction mode. The subject is in a shadow, and the photo was taken with a pop-up fl ash.

Figure . - Slow Sync as shown on the camera’s LCD panel

Figure . - Slow Sync balances the subjects in front with the ambient light in the background. DX, SB-, f/., -.

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photograph looks like the person is moving backwards with the motion blur in front of them. This can appear somewhat weird, as shown in figure ..

� e neatest thing about Slow Sync mode is the balance between the � ash on the subject and the ambient light. It is the classic “� ll � ash” mode; a great tool that every photo-grapher should master. Remember that since it uses a long shutter speed, the camera will expose for the ambient light which might have a di� erent color than your � ash. In that case, use a gel with your � ash so the color of the � ash matches the color of the ambient light. If you are indoors, then you will probably want to use a tungsten gel or � uorescent gel so that all your colors match (see chapter ).

Slow + Red-eye Reduction SyncUse this mode when you photograph people with a pop-up � ash to balance the bright-ness of the � ash with the ambient light. I don’t

employ this mode in my photography because I don’t use on-camera � ash for my professional work. Figure . shows the symbol for Slow + Red-eye.

Since the � ash � res at the beginning of the exposure, the Red-eye Reduction works exactly the same as in Normal Sync. However, this mode can be very confusing to your subjects because they see a bunch of � ashes and assume the photograph is over. � ey end up turning their heads or closing their eyes before the camera opens the shut-ter, and you completely miss the shot. I think you will generally � nd this sync mode more trouble than it’s worth.

Slow + Rear SyncSlow + Rear Sync is my all-time favorite � ash sync mode because it accomplishes so much with one setting. I use this mode for almost all of my travel and outdoor photography when I want to incorporate ambient light with a � ash. Figure . shows the camera icon for this mode. Notice the words SLOW and REAR inside the box.

� e principle is exactly the same as Slow Sync except that the � ash � res at the end of the exposure rather than at the beginning. First, the front curtain opens and starts exposing the sensor; then, just before the rear curtain begins to shut, the � ash � res. � e Slow portion of the setting refers to the long exposure required to register the ambi-ent light. � e Rear portion of the setting refers to the � ash � ring before the rear curtain closes.

Figure . - Slow + Red-eye Reduction Sync as shown on the camera’s LCD panel

Figure . - This is a Slow Sync photo. The car is moving from right to left, but notice the blur in front of the car. D, SB- Remote, f/., / second. Compare this to the car shot in fi gure ..

Figure . - Slow + Rear Sync as shown on the camera’s LCD panel

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� is mode is excellent when you want to include motion in a shot. Using the dancer example again, the motion blur would appear behind the dancer rather than in front of the dancer. I set my camera to Slow + Rear anytime I expect motion blur in the image, just so the photo looks natural (� gure .).

When in Slow + Rear mode, get into the habit of dialing down your � ash power so it blends better (is better balanced) with the ambient light. If you shoot the � ash at . power, then most likely your subject will be too bright. Most of my travel photos start out at approximately -. for the � ash. � en, if my test shots come out too dark, I readjust to -.

or -.. If my test shots come out too bright, I readjust to -. or -.. Each situation is di� er-ent, so I’m not afraid to change my � ash power to get the look I’m a� er (� gure .).

� e Slow + Rear mode can only be accessed when your camera is in Aperture Priority mode (A) or in Program mode (P). � e reason for this is the camera can auto-matically make a “slow” exposure to expose for the ambient light when it is in A or P modes. In A mode, you set the aperture yourself (e.g., f/.), and the camera sets the shutter speed automatically. In P mode, the camera is responsible for setting both shutter speed and aperture.

In Manual mode (M), you set the shut-ter speed yourself so the camera can’t adjust it independently to make it “slow”. � e same holds true for Shutter Priority mode (S). You set the shutter speed, so the camera can’t make

Figure . - Slow + Rear puts the motion blur behind the movement, where it should be! This happens because the fl ash fi res at the end of the exposure. Since the car is moving from right to left, you can see the blur behind it. The fl ash pulse freezes the motion at the end. SB- Remote, f/., / second.

Figure . - Slow + Rear Sync balances the people and helicopter in the foreground with the bright snow in the background. I dialed down the fl ash power to about -. for this shot.

Figure . - Slow + Rear Sync balances the sub-jects in front with the ambient light in the back-ground. “Rear” means that the fl ash fi res at the end of the exposure, thereby allowing motion blur to show behind the movement. DX, SB-.

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a long exposure for the ambient light. It is important to note that if you set Rear Sync when you are in M or S mode, the � ash will still � re at the end (rear curtain) of the expo-sure to get the trailing light e� ect (� gure .).

O� en, there is confusion over the word “Slow”. In the vernacular, it implies lethargic or long. Many of us assume that when we set the � ash sync for Slow + Rear, it automati-cally results in a long exposure. � is assump-tion is true if the location is dark, as in � gure .. On the other hand, what if you take a

photograph on a bright, sunny day and set your � ash sync to Slow + Rear, as in � gure .? You will probably notice the shutter speed is “fast”, around / second or even faster. Remember, in Slow mode, the camera chooses a shutter speed for the ambient light exposure and then � res the � ash as a � ll light at the end of the exposure.

Which Sync Mode Should You Use?

Almost all of my � ash photographs are taken in either Normal (Front Curtain) or Slow + Rear. � e other modes—Normal + Red-eye, Slow, and Slow + Red-eye—do not provide any bene� t for my photography.

Most o� en, I have a scene that � ts one of these two descriptions:. I want to incorporate ambient light and

� ash, so I choose Slow + Rear. . I don’t want to use any ambient light (or

there isn’t any), so I choose Normal. Many photographers have uses for the

other sync modes, but in my photography, I choose to use just two. Life is easier when you simplify.

Making Good Use of Flash Power

If the world were a perfect place, we would always have enough power from our � ashes to get any shot, at any time, in any light. At some point, though, reality sets in and we must face the fact that � ashes like the SB-, SB-, and SB- don’t have much power in comparison to large studio strobes. Do keep in mind that Nikon Speedlight � ashes have a di� erent purpose in life than full-� edged studio strobes. Speedlights are made so they can hit the road and produce excellent results in a small package. � ey aren’t made to illuminate the interior of a warehouse or the entire � ight line at LAX In-ternational.

Once you understand the Speedlights’ place in photography, then you can

My Own Use of Sync Modes

I typically use just two sync modes:Normal • Slow + Rear•

Sync Modes for Common Flash Scenarios

Situation Sync Mode

Dark interior room Normal

(wedding reception,

living room)

Landscape where it is Slow + Rear

desirable to light the

foreground with � ash

Studio photography with Normal

� ashes, umbrellas,

so� boxes, etc.

Environmental portrait Slow + Rear

next to a window using

� ll � ash

Sports where there is a Slow + Rear

possibility of motion blur

Birthday party where the Normal

house lights are very low

(dark)

Table . summarizes fl ash settings for a variety of common scenarios


33

understand how to work within their limita-tions. � ere are four simple ways to in� u-ence � ash power that I like to teach. You will probably use all of them at some point: . Distance from subject. Flash zoom setting. Camera ISO. Aperture

Let me go through them one by one and explain how to put them into practice.

Distance from SubjectA fundamental and frustrating property of light is that its intensity falls o� very rap-idly with distance. For example, have you ever stood just one foot away from a stan-dard -watt light bulb? Pretty bright, isn’t it? If you read a book next to it, it gives o� plenty of light. However, what if you move the light bulb to the other end of your living room? � e light hitting your book dramati-cally drops o� . � is is because light intensity (brightness) falls o� as the inverse square of distance. If we were to state this in an equa-tion, it would look like this (D = distance):

In real life, if you had power right at the � ash head and moved two feet away, your subject would receive only / the original amount of light. How about if you moved three feet away? Now the subject would receive / the amount. If you moved feet away, then the subject would receive only / the amount (� gure .).

When I take photographs, I always consid-er how close my � ashes are to the subject. In general, the closer your � ashes are to the subject, the more control you have over them and the more power you have available. For example, in a wedding environment, your � ashes can’t be at the other end of the church because they just don’t have enough oomph (energy) to light up the altar.

Since Speedlights aren’t very powerful, Nikon has a warning system in place to tell you when the � ash can’t put out enough power for the scene: the blinking READY light. Let’s say you are taking photos at an outdoor concert and your � ash’s READY light is blink-ing at you. In Nikon’s world, those blinks mean the � ash is underexposing the shot.

In fact, the � ash will actually tell you how far underexposed the shot is by placing a minus sign in the upper right corner of the LCD panel (� gure .). You have to be fast to catch it, but it will show something like -. or – /. � is means the � ash dumped

Figure . - Light intensity falls off quickly as you move the subject away from the fl ash

Figure . - If you take a photo and the fl ash is not able to expose properly, it shows the underexpo-sure amount on the LCD screen. In this example, it underexposed by -. stops.

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33

of its energy from the capacitor, but it still wasn’t enough to do the job.

One way to fix this problem and get enough light onto the scene is simply to move the flash(es) closer to the subject. Cutting the distance between the flash and the subject in half will result in a four-fold (x) increase in available power! The inverse square equation shown in figure . can be a friend or an enemy depend-ing on which way you move your flashes.

If you aren’t fast enough to see the underexposed value on the back of the flash, then you can recall the value by pres-sing these buttons (figure 3.34) on each of the flashes:

SB-: ZOOM + MODE (simultane-• ously)SB-: MODE + SEL (simultaneously)• SB-: Function Button •

Figure . - If you don’t look fast enough, the underexposure value will disappear. When this happens, you can push the ZOOM + MODE buttons on the SB- (shown here), the MODE + SEL buttons on the SB-, or Function Button on the SB-.

Figure . - When you zoom your lens, the fl ash head zooms along with it. This ensures that the an-gle of view from your lens is the same as the angle of coverage from your fl ash.


33

Flash Zoom SettingAnother way to get more power out of your � ash is to change the zoom setting on the � ash head. � ink of the light that leaves your � ash like a stream of water coming out of a garden hose. When you set the nozzle to mist, it cov-ers a wide area but won’t shoot very far. � e opposite is true when you set the nozzle to stream; it covers a small area but will shoot quite a distance. You use the stream setting when you want to soak your grumpy neighbor across the street, and you use the mist setting when you want to soak the side of your muddy pickup truck a few feet away.

Your � ash has the same ability to focus light so that it covers a small area or a wide area. � is is important because as you zoom your lens, your � ash also zooms to cover the same angle of view. Most of the time, you leave the � ash so it automatically zooms the head along with the lens (� gure .). � is makes sense because you want everything your lens sees to be covered by the � ash.

I use my � ash zoom frequently to extend its useful working distance. You already know that when you zoom the lens on your camera, the � ash head zooms with it. While you are doing this, though, look at the back of your SB- or SB- � ash and watch the “usable distance” scale change with the zoom setting. You’ll notice that when your � ash is zoomed to mm, the usable distance may only be feet (� gure .). However, when you zoom the � ash to mm, it now extends to feet. You’ve extended the usefulness of the � ash by focusing the light into a tighter column.

� ere are many reasons why you might want to change the zoom setting of the � ash so it is di� erent from the focal length of your lens. For example, say you are photograph-ing a speaking engagement where the master of ceremonies is standing at the le� side of the stage. You want to get a photograph of her speaking and retain the ambient light in the theater. Your solution is to take the � ash

head and aim it at the speaker. � en, zoom the � ash head so it only covers the master of ceremonies and not the rest of the stage. Voila!

In general, the zoom setting on your � ash should match the zoom setting on your lens. � e reason is that most of the time, you want full coverage of the scene. If you have a wide angle lens such as a mm, then you are out of the normal zoom range of your � ash (which is mm on the wide end) and you will get light fall-o� at the corners of the image (� gure .). It isn’t until the lens and the � ash are set for the same focal length that you will get even coverage.

At the other end of the zoom range, some-times you run out of zoom on your � ash. Say, for instance, you have a mm tele-photo lens mounted to your camera and you want to use � ll � ash. In this scenario, the � ash only zooms to mm on the SB-, mm on the SB-, or mm on the SB-, so the angle of coverage is bigger than the lens can see. � is isn’t a big deal, but you are wasting light and the � ash sometimes won’t focus enough light to e� ectively illuminate

Figure . - When you zoom your fl ash head, it changes the usable distance. Notice that at mm zoom, the fl ash is usable only to feet. When you zoom to mm, the fl ash is usable to feet.

Figure . - The left photo shows an angle of fl ash coverage less than the lens zoom setting. Note the light fall-off in the corners. The right photo shows the angle of coverage equal to the lens zoom set-ting. Note the even, overall coverage.

Flash Theory

33

the subject. To remedy this problem, some companies have created � ash extenders that help focus the light beam to enable telephoto photography with � ash. See � gure . for an example.

Camera ISO� e third most common way to get more power out of your � ash is to change your camera’s ISO. If you make the camera more sensitive to light, then your � ashes don’t have to work as hard to illuminate the subject. If you increase your camera’s ISO, your � ashes can work from a greater distance (� gure .).

How does this work in a real world appli-cation? Let’s say I’m taking photographs in an area where the ambient light is fairly low and my subject is far away, like a concert or an evening soccer match. If I want to use � ll � ash, then the Speedlight might not have enough power to reach the action. In this situation, I would bump up the camera’s ISO to the sensitivity required to get the shot.

Notice that when you change the ISO on your camera, the SB- and SB- display the new ISO on their LCDs. Also, as you change ISO, the � ashes displays the new usable distance values on their LCDs (� gure .). You get the same e� ect with the SB-, but it doesn’t show the distance value on the LCD.

� e usable distance information on the back of the � ash helps me determine whether my � ashes will work for the scene.

Figure . - Notice that when you change the ISO on your camera body, the ISO also changes on your fl ash. Additionally, as you increase your ISO, your eff ective distance increases. To get more us-able distance, increase your ISO.

Figure . - I want to plug a fantastic product for wildlife photographers called the Better Beamer Flash X-Tender (fX- model). The X-Tender increas-es your fl ash output two to three stops by focusing the light into a tight beam. This product is gener-ally used for wildlife and bird photography (www.photoproshop.com).


33

ApertureThe fourth way to influence flash power is to change the lens aperture. In the past, all flash photographers worth their salt spoke strictly in terms of apertures. A photogra-pher would commonly tell her assistant to “brighten it up a stop”. What that meant was to make the aperture one stop larger than the current setting. If the photographer shot the first photo at f/, then the next photo’s settings would be shot at f/., which lets in twice as much light.

Alternatively, the smaller your aperture, the less light you allow into your camera (figure .). For example, assuming that your flash puts out a constant amount of power, then changing your camera’s aper-ture from f/. to f/ will darken the photo by one stop.

In the real world, it is imperative to understand the relationship between aper-ture and the amount of light, especially if your flash photos tend to look too dark. If you are struggling to light a scene and

your flashes aren’t putting out enough power, then choose a larger aperture like f/ or f/. rather than f/ or f/. Many people incorrectly try to make their shutter speeds longer, hoping their flash shots will get brighter. While this allows more ambi-ent light into the photograph, it doesn’t do anything to let more light from the flash into the photograph. It bears repeating: in flash photography, aperture affects light from the flash and shutter speed affects ambient light.

So there you have it, four ways to influ-ence flash power: distance, zoom, ISO, and aperture. I use all of these methods exten-sively in the field, and I encourage you to practice them as well.

Figure . - f/. lets in twice as much light as f/ because the aperture is exactly twice as large. Shooting at f/ takes twice as much fl ash power as shooting at f/..

Effects of Aperture & Shutter Speed

Aperture a� ects light from the � ash• Shutter speed a� ects ambient light•

SB- Buttons, Modes, Menus, and Operation

44

SB-600 Buttons, Modes, Menus, and Operation

SB- Buttons and Controls

44

� e SB- � ash can be used in two basic ways with your Nikon CLS compatible cam-era. First, it can be used as a Dedicated TTL � ash, connected to the camera’s hot shoe like any other � ash unit. Second, it can be used as a Remote (Slave) � ash which is controlled by a Commander (Master) � ash like the SB-, SB-, or SU-.

� e SB- is a very capable � ash in and of itself. In fact, if you are only going to buy one � ash unit, I would suggest the SB-. It can be purchased at a much lower cost than the SB- or SB- and will do almost everything for a “one � ash photographer”. It has a respectable guide number of and a � ash recycle time of about . seconds from a full power discharge.

SB-600 Buttons and Controls

Flash HeadTo point the SB-’s � ash head in di� erent directions, press the Tilt button (� gure .) with your � nger and rotate the head. � e � ash head will rotate degrees side-to-side and degrees vertically. You need to press the button to begin movement, but you don’t need to keep pressing it to continue.

If you look closely at the back of the � ash head, you will notice that it has angle scales. However, they are not really useful unless you are telling someone else how to set up your � ash.

Figure . - Push the Tilt button to rotate or tilt the fl ash head

Figure . - The SB- is a very capable Dedicated fl ash or wireless Remote fl ash


44

Wide Angle AdapterIf your lens has a wider angle than mm, then it makes good sense to pull out the Wide Angle Adapter to improve your � ash coverage (� gures . and .). Notice that when you deploy it, the � ash automatically zooms to mm. � is means the Wide Angle Adapter allows an angle of coverage the same as a mm lens. You can also use this adapt-er as a di� usion panel for close-ups to take some harshness away from the � ash.

Auxiliary Ready Light� ere are two LEDs that blink when the SB- is con� gured as a wireless Remote � ash unit (� gure .). � ese two lights tell you that the � ash is listening and waiting for a signal from the Commander � ash. � at is their only purpose. Note: the SB- does not have these lights when it is con� gured as a Remote � ash unit, but the SB- does.

Figure . - Here the Wide Angle Adapter is pulled out from the top of the fl ash head

Figure . - This is what the Wide Angle Adapter looks like when fully deployed. It is very useful when you use a lens wider than mm.

Figure . - These two LEDs blink when the SB- is confi gured as a wireless Remote fl ash


44

Wide Area AF Assist Illuminator� is is a fantastic feature. It activates auto-matically in dark rooms to assist your camera’s autofocus sensors. � is feature overrides the camera body’s AF Assist Illuminator (found on the D, D, D, etc.) (� gure .).

� e Wide Area AF Assist pattern also activates when the � ash is used with a TTL extension cord such as the SC-, SC-, or SC- (� gure .).

Light Sensor Window� is is where all wireless communication takes place between the SB- and the Commander unit. When you have the � ash con� gured as a Remote, be sure to point this window towards the Commander � ash (� gure .).

Figure . - The Wide Area AF Assist pattern is gen-erated behind the red window in the front of the fl ash

Figure . - This is what the pattern looks like against a wall in a dark room

IMPORTANT!

You must set up the following things properly in your camera for the Wide Angle AF Assist Illuminator to work:

Turn on the autofocus (the switch on the . camera body down by the lens mount)Set your camera to AF-S (not AF-C). Position the autofocus sensor so it can “see” . the � ash’s red pattern–for example, in the center position of your camera’s view� nderMake sure the ambient light is dark enough . for the camera to activate the red patternTurn on your � ash and your camera . Turn on your � ash’s Custom Settings Menus . for AF-ILL

Once these conditions are met, the Wide An-gle AF Assist Illuminator will work from the � ash head.

Figure . - The Light Sensor Window for wire-less TTL fl ash control is located beside the battery chamber. Point this sensor towards the Com-mander fl ash.


44

� e window works best when it is in the shade or in a dark room not a� ected by bright ambient light. I’ve had some problems making the system work in direct sun and assume the reason is that Remote � ashes have a hard time distinguishing between � ash pulses and direct sun.

Many times I have an assistant point the remote � ash at the subject for extra � ll. In this situation, make sure the assistant’s thumb doesn’t cover the window (� gures . and .). Unfortunately, Nikon placed it at the perfect location for a thumb grip!

Battery Chamber Lid� e Battery Chamber Lid on the SB- is not designed to be removed like the SB- lid. Its operation is very simple: slide the cov-er down to the “unlocked” position and then open the chamber (� gure .).

I � nd that over time the battery contacts can corrode (� gure .), causing a poor connection between the batteries and the � ash. To remedy the problem, I clean them with a pencil eraser or lightly scrape them with a pocket knife. Also, the tabs deep inside the battery chamber can form light corrosion, so I clean those o� as well.

Figure . - When the SB- is set up as a Remote, don‘t cover the Light Sensor Window with your thumb

Figure . - This is the correct way to hand hold the fl ash in Remote mode, with the Light Sensor Window fully visible

Figure . - Open the Battery Chamber Lid by slid-ing the cover down

Figure . - Clean these metal contacts periodi-cally to prevent corrosion


44

ON/OFF Button� e ON/OFF button is, of course, used to turn the � ash on and o� , but it also serves several additional functions:

To bring the � ash out of Standby mode, • push the ON/OFF button, and the � ash will wake upTo exit from Custom Settings Menus, push • the ON/OFF button to return to the regu-lar screenTo perform a system reset, push the • MODE and ON/OFF buttons together for two seconds, and you will reset the � ash (including the custom settings) to the fac-tory default settings Be sure to turn the flash off before you

attach or remove it from the camera body. This prevents any short circuits as well as preventing the flash from firing. If you

forget to turn the flash off before putting it back into the camera case, it automatically goes into standby mode and stops consum-ing battery power (figure .).

MODE ButtonLike most of the controls on the SB-, this button performs a number of functions depending on how the flash is configured. When the flash is set up as a Dedicated flash (i.e., not as a Remote flash), the MODE but-ton switches between three flash modes: TTL BL, TTL, and M. All of these modes are covered in detail below.

Notice that when the � ash is not attached to the camera (or when the camera is turned o� ), you can only choose TTL or M. When the � ash is attached to the camera, you can also choose TTL BL (� gures . and .).

Figure . - SB- ON/OFF button Figure . - The MODE button and the ON/OFF button are linked by a white line and the word RESET

Figure . - SB- fl ash modes: M, TTL, and TTL BL


44

TTL BL ModeIf your camera is a newer Nikon SLR such as the D, D, D, D, D, D, D, D, D, D, D, F, etc., then it will op-erate your � ashes using TTL BL mode (� gure .). TTL stands for “� rough � e Lens” me-tering and BL stands for “Balanced” � ll � ash.

Nikon refers to this mode as “Automatic Balanced Fill Flash”. Its goal is to balance the ambient light (background) with the subject (foreground). I use TTL BL for the vast majority of my photography.

In TTL BL mode, the SB- puts out a pre� ash that is re� ected back to the camera’s Matrix light metering system. � e camera then quickly calculates the correct amount of light for the scene. You can sometimes see this pre� ash sequence if you pay close atten-tion when the � ash � res.

� e pre� ash delay is de� nitely visible on slower cameras like the Nikon D, but very short (almost imperceptible) on fast systems like the D. Unfortunately, on the slower cameras like the D and D, the pre� ashes can cause people to close their eyes during the shot. Sometimes, the only way to get around this is to tell your subjects to try to keep their eyes open until the sequence is � nished. Obviously, this is easier said than done.

Another way to get around the pre� ash is to turn your � ash to Manual mode. You can use a function called FV Lock. See chapter for more information on how to cure this problem using FV Lock.

TTL Mode� is mode is o� en called Standard TTL. Its purpose is to expose only for the subject, not for the background light. TTL mode goes back a long way in Nikon camera systems and is truly the legacy mode. It does a good job, but I have found that TTL BL seems more accurate and consistent (� gure .).

� e best places to use TTL mode are situations where you only want the subject exposed, such as:

Weddings and other events in dark recep-• tion hallsParties in dark living rooms• Macro photography where the surround-• ing environment is a nonissue

M ModeIn M or Manual mode (� gure .), you are responsible for determining � ash output. To do this, you have three options:

Trial and error• Guide Number calculation• Hand-held light meter•

Figure . - SB- in TTL BL mode

Figure . - SB- in TTL mode

Figure . - SB- in M mode


44

� e � rst method of determining � ash power is trial and error. Simply take a picture and review the results on your camera’s histo-gram and/or highlights screen. If it looks too bright, then dial the � ash power down. If it looks too dark, then increase the power.

� e second method is to use a Guide Number calculation, which is contingent on knowing the � ash’s guide number. Although we know that the SB- has a guide number of , it gets more complicated when you zoom the � ash head or choose di� erent ISO values. For example, if you zoom the � ash head to mm, then the Guide Number is . If you zoom the � ash head to mm, then the Guide Number is . Table . provides a quick summary of SB- Guide Number values depending on di� erent power and zoom settings.

Once you know what the Guide Number is, you can run a calculation based on the following Guide Number formula to set the aperture for your camera:

Guide Number (GN) = Shooting Distance (in feet) x Aperture ÷ ISO Sensitivity Factor

� e formula doesn’t mean much to most people, but we can change it around to solve that problem. � e formula now looks like this:

Let’s assume you know your subject is feet away and your Guide Number is (table .). According to this calculation, set your lens aperture to f/. and take the photograph. Easy! But honestly, this is an old way to calculate � ash power, and it isn’t a very fast way to do � ash photography.

� e third and best choice for determining � ash power in Manual mode is to use a hand-held � ash meter such as the Sekonic L-. Here is the process for using it:. Set the � ash power to a speci� c output

value, such as ¼ power. Set your camera and � ash meter to the

same ISO value

SB- Guide Numbers at ISO (Calculated Using Feet)

Flash Output Level Flash Head Zoom Position (mm)

14 24 28 35 50 70 85

1/1

1/2

1/4

1/8

1/16

1/32

1/64

Table .


44

. Place the meter in front of your subject with the dome pointed towards the cam-era lens

. Fire the � ash in Manual mode. Read the � ash meter values, such as shut-

ter speed and aperture. Set those values into your camera (e.g., f/

at / second)

Using a hand-held light meter is truly the best and most accurate way to calcula-te Manual � ash exposure. � is is how most studio photographers set up their � ash exposures. But you may ask, “If it’s so good, then why does Nikon create all those other � ash modes?” � e answer is because this method is s-l-o-w and takes patience. It is impossible to capture candid shots if you always have to stop and take a � ash meter reading. Nikon keeps innovating new and exciting � ash modes like TTL BL to help us capture serendipitous scenes that would otherwise be lost.

Other Uses of the MODE Button� e next function of the MODE button is to lock all the buttons (� gure .). If you press the MODE and the - buttons together for one second, you lock out control from the other buttons. � is function prevents you or someone else from inadvertently changing the � ash settings. I sometimes lock the but-tons when photographing an event in order to prevent people from changing my settings. You’d be surprised at what an errant button push can do to your photography! Note that you can still turn the � ash on or o� when the buttons are locked. To unlock the buttons, push the MODE and - buttons together again for about one second.

Another function of the MODE button is to show the amount of underexposure in your last photograph (� gure .). For example, if the � ash’s READY light is blink-ing, that tells you the last shot was underex-posed. � is situation is most common when you photograph something far away from the camera or when you use a small aperture (e.g., f/).

Figure . - Use the MODE and - buttons to lock the fl ash. Notice the lock symbol on the fl ash’s LCD panel.

Figure . - Press the MODE and ZOOM buttons to recall the amount of underexposure


44

If you see the READY light blinking a� er you take the shot, you can display the under-exposed value on the LCD panel by simul-taneously pressing the MODE and ZOOM buttons (� gure .). To � x the underexpo-sure, choose a larger aperture, move closer to your subject, increase the ISO, or increase your � ash’s zoom.

Finally, the MODE button is used to select settings in the Custom Settings Menus. For

example, press the MODE button to activate wireless � ash or turn o� the Standby func-tion. � e Custom Settings Menus are covered later in this chapter.

+/- Buttons� e +/- buttons, or Flash Compensation but-tons, are generally used to control the output, or power, of the � ash (� gure .). Depend-ing on what mode the � ash is in, the output is shown in terms of stops or fractions.

In TTL mode or TTL BL mode, the +/- buttons control � ash output compensation in stops. � ey are independent from the Exposure Compensation button found on top of your camera body (� gure .).

� e default setting for the � ash is .. � is means the � ash will put out enough light to capture the scene at medium brightness. Stated another way, if your � ash is set up for

Figure . - The +/- buttons (Flash Compensation buttons) are mainly used to change fl ash power output

Figure . - The Exposure Compensation button on your camera is diff erent from the Flash Compensa-tion buttons (fi gure .). Exposure Compensation changes the amount of ambient light in the exposure.


44., then it will expose the subject as bright as an gray card (� gure .).

If you press the + button four times in TTL mode, the � ash will display +. on the LCD readout (� gure .). � e +. symbol will blink for a few seconds and then stop blinking to indicate the new setting. When you take a picture with +., the exposure will be brighter by . stops than the same photo with ..

On the other hand, if you press the - button, you decrease the amount of � ash compensation. For example, a value of -. will reduce � ash output by . stops from .. Stated another way, the � ash will put out -. stops from what would be required to illumi-nate your subject at gray.

When you set the � ash mode to Manual, the +/- buttons still control � ash output but the readout changes to fractions (� gure .). Remember that in TTL and TTL BL modes, the camera automatically controls the � ash output to what it thinks is correct. However, in Manual mode, you are the brains behind the output. You must � gure out how much light to add to the scene by using a Guide Number calculation, light meter, or trial and error.

Figure . - The Flash Compensation button on your camera will change fl ash output for the pop-up fl ash or the SB-

Figure . - In TTL mode, the power output is dis-played in terms of stops. For example, +. means . stops more light than medium brightness.

Figure . - In Manual mode, the power output is shown in terms of fractions. This example repre-sents / of full power.


44

Zoom ButtonOne of the great features of modern � ashes is their ability to focus the beam of light from the � ash head. � is is a good thing because you generally want the entire scene to be evenly lit by the � ash. As you zoom the lens to a wider angle, the � ash must illuminate a larger area. So, at the same time the lens zooms, the � ash head must also zoom.

On Nikon camera systems, the lens sends zoom information to the camera body, which then forwards it to the � ash. Say, for exam-ple, you set your lens to mm; then your � ash will also zoom to mm to provide the same angle of coverage. � is is called Auto Zoom on the � ash. You can override the Auto Zoom function and zoom manually by pressing the ZOOM button. When you do this, you will see M ZOOM displayed on the � ash’s LCD (� gure .).

IMPORTANT!

Following are two important details you need to know about M ZOOM.

Let’s say you zoom the � ash to mm and . the LCD shows M ZOOM. If you want the � ash to resynchronize with the lens, then you need to follow these simple steps:

Turn lens barrel to mm

then

Press “Zoom” button on � ash until it is set to mm

OR

Turn lens barrel to any zoom setting (i.e. mm)

then

Press “Zoom” button on � ash until it is set to same zoom setting (i.e. mm)

When you have the Wide Angle Adapter . extended (� gure .), the SB- will not zoom in either Auto Zoom or M ZOOM mode. You are pretty much stuck with mm as the zoom setting (� gure .). � is is a good thing, since you want the Wide Angle Adapter to provide full coverage for your wide angle lens.

Figure . - When you press the ZOOM button, you override the Auto Zoom function and go into manual, or M ZOOM mode

Figure . - The Wide Angle Adapter is extended, so the fl ash automatically defaults to the mm zoom setting

Figure . - When the Wide Angle Adapter is extended, the fl ash head defaults to the mm zoom setting and M ZOOM shows on the LCD


44

Two-Button ControlsYou can access four di� erent settings from the back of the � ash by pressing two buttons together. Figure . shows the SB- but-ton panel. Table . shows the button combi-nations and what they do.

FLASH ButtonFor years, people have pressed the FLASH button to make sure a � ash will � re properly. However, in TTL BL or TTL mode, it serves no purpose other than to con� rm the � ash is on and ready to � re. Also, in TTL BL mode, pressing the FLASH button will cause the � ash to put out about / power.

� e real use of this button is in Manual mode (� gure .). In this case, the � ash will put out exactly the amount of power you program into it. If you use a � ash meter in a traditional studio environment, you can take a meter reading without tripping the shutter on your camera to � re the � ash.

Figure . - The white lines show the two-button control combinations. For example, pressing the ZOOM and - buttons together brings you to the Custom Settings Menus (CSM).

SB- Two-Button Controls

Press These Two Buttons Together Function Name What it Does

ZOOM and MODE Underexposed Value Recalls the last underexposed value when the

� ash sounded eight beeps in a row. If it

shows -., increase the ISO by . stops or

open the aperture by . stops.

MODE and - Button Lock Locks the buttons so you (or your assistant)

won’t mistakenly change the settings during a

photo shoot. You must unlock the buttons

before making changes to power, zoom, mode, etc.

ZOOM and - CSM Access Takes you in and out of the Custom Settings Menus.

MODE and ON/OFF Flash Reset Resets all � ash settings, including the custom

settings, back to their default values. Handy if you

forget how to get out of Wireless Remote mode.

Table . - SB- Two-Button Controls

Figure . - In TTL BL mode, pressing the FLASH button will make the fl ash fi re at about / pow-er. In Manual mode, the FLASH button makes the fl ash fi re at whatever value you set. This is useful in setting up studio shots when you measure actual output with a hand-held light meter.


44

Mounting Foot Lock LeverObviously, this lever locks the � ash on top of the camera (� gures . and .). I highly recommend using it. It is especially impor-tant when you mount the � ash to accessory platforms like light stands or other tripods. You don’t want the � ash to fall on the ground; that can ruin your day pretty quickly.

Hot Shoe Contacts� ere are four metal contacts on the bottom of the � ash (� gure .) and four round cir-cular contacts on the camera’s accessory shoe (� gure .). � is is going to sound obvious, but all four contacts on the bottom of the � ash must match up perfectly with all four contacts on the camera. If not, the � ash and camera cannot communicate.

I have had this happen many times when I moved too quickly and didn’t fully secure the � ash to the camera body. Nothing is more embarrassing than staring at your � ash and wondering why it won’t � re! Well, there are probably some more embarrassing things, but I won’t mention them here.

NOTE

� e SB-, SB-, and SU- � ashes can use the FLASH button to ping the other � ash-es in a wireless system and make sure they are listening to the same Channel and Groups. You can � nd more information about this in chapters , , and .

Figure . - Lever is unlocked (arrow). Notice that the locking pin does not protrude from the base (red circle).

Figure . - Lever is locked (arrow). Here, the lock-ing pin does protrude from the base (red circle). When the fl ash is mounted, the pin will lock into the hot shoe and prevent the fl ash from falling off .

Figure . - The fl ash has four conical electrical contacts that need to match up with the four con-tacts on the camera

Figure . - The camera has four hot shoe points that need to match up with the four contact pins on the fl ash


44

External AF Assist Illuminator ContactsIf you have the SC- � ash TTL extension cable, then the two metal contacts shown in � gure . enable the cable to function with the Wide Area AF Assist Illuminator. Basi-cally, these two contacts connect with the SC- cable so you can activate or deactivate the AF Assist function. � e SC- has a lever switch on the front that allows you to turn o� the SB- AF Assist lamp and use only the AF Assist lamp at the other end of the cable, mounted on the camera body.

Why would you do this? Let’s say you have the � ash mounted to the TTL cable so it is o� -camera. In this situation, you are prob-ably bouncing the � ash o� the ceiling or aiming through an umbrella. � erefore, the � ash will emit the AF Assist pattern onto the ceiling or umbrella, not the subject. But if you purchase the SC- cable, you can still use the AF Assist pattern function because there is an additional AF box that mounts on the camera body. Problem solved!

READY LightWhen the READY light is on, it means the � ash’s capacitor is fully charged and ready to take the next picture (� gure .). A� er you take a photo, the READY light turns o� while the � ash recharges its capacitor. Once the capacitor is recharged, it turns on again. � e READY light also coincides with the beep of the � ash in wireless mode.

Figure . - The AF Assist contacts allow you to use the SC- cable for autofocusing in dark rooms

Figure . - The READY light is your indication that the fl ash’s capacitor is fully charged and the fl ash is ready to fi re. If it takes a long time for the light to come back on after you shoot a photograph, then change your batteries for fully charged ones.

Figure . - Notice that the READY light is not illu-minated when the fl ash is in Standby (STBY) mode

SB- Custom Settings Menus

44

When you are waiting between photos, the � ash will periodically go into Standby mode. At this point, the READY light turns o� until you wake up the � ash by pressing the ON/OFF button or the camera’s shutter release button (� gure .).

Also, because your � ash doesn’t have a battery level indicator, the READY light is the only way to really tell how much power

remains in your batteries. Speci� cally, the longer it takes for the READY light to illumi-nate, the lower your battery life. If you � nd it takes four to six seconds a� er each shot to recharge the � ash, then it is time to change your batteries.

Finally, the READY light blinks rapidly if you take a photograph and the � ash does not have enough power to light the scene. In this situation, the � ash indicates underexposure by a minus sign in the upper right corner of the LCD (� gure .). � e rapid blink-ing is your cue to check out the underex-posed value and then change aperture, ISO, distance, or zoom in order to take the shot.

SB-600 Custom Settings Menus

� e Custom Settings Menus (CSM) on the SB- are frustratingly di� cult to under-stand and follow. It isn’t always clear what menu you are in or what item you actually select. Unfortunately, you need to memorize some simple hieroglyphics to make heads or tails of CSM.

To get into CSM, hold down the ZOOM and - buttons simultaneously for two seconds (� gure .). You will know you are in CSM when all other data disappears from the LCD panel.

To navigate between menu screens, press the + and - buttons. � e number of custom settings varies depending on how you con� g-ure the � ash. For example, when you set up the � ash as a Remote unit, the menus will be di� erent from the ones you see when you con� gure the � ash as a Dedicated TTL unit.

Once you select the item you want to change, press the MODE button to change it. Here is a breakdown of what the CSM settings mean:

Figure . - If the READY light blinks rapidly after your photo, it means the fl ash didn’t have enough power to light the scene. Press the MODE and ZOOM buttons simultaneously to recall the under-exposed value.

Figure . - To get into the SB- Custom Set-tings Menus (CSM), press the ZOOM and - buttons simultaneously for two seconds. Notice that these buttons are linked by the CSM label.


44

Standby (STBY) Standby mode on the SB- helps conserve battery power. You have two Standby choices in CSM (� gure .). Press the MODE but-ton to select either AUTO or OFF.

AUTO-• In this mode, the � ash automati-cally goes into Standby a� er the camera body meter system turns o� . To wake up the � ash, press the ON/OFF button or the camera’s shutter release. � e � ash will not go into Standby mode when it is con� g-ured as a Remote unit.OFF-• � is mode is represented by a line of dashes on the LCD panel: - - - -. When con� gured like this, the � ash will never go into Standby mode.

M ZOOMM ZOOM means Manual Zoom. Use this function to disable the Auto Zoom feature of the � ash when it is mounted on your camera(� gure .).

ON-• When set to ON, the � ash will not zoom as the lens zooms. If you want to set the � ash head for a di� erent zoom value, you can still manually press the ZOOM button on the back of the � ash to change the setting.OFF-• When s et to OFF, the � ash automat-ically zooms with the lens. I know, select-ing OFF to allow Auto Zoom doesn’t make sense to me, either.

LCD Panel Illuminator� is setting allows you to turn o� the green backlight function on the � ash. Typically, when you push a button on the � ash, the green backlight comes on for a few seconds to help you read the screen (� gure .).

ON- • Allows the green backlight to turn on any time you press control buttons on the � ash.OFF-• Turns o� the green backlight func-tion.

Wireless Remote Flash ModeTurning this function ON activates the wireless � ash functionality of the SB-. � is function is illustrated by a squiggly ar-row throughout the Nikon literature (� gure .).

ON- • Turns on Wireless Remote Flash mode so the SB- works only as a Re-mote � ash unit.OFF- • Turns o� Wireless Remote Flash mode so the SB- works as a Dedicated � ash unit.

Figure . - Standby CSM showing AUTO and OFF (- - -)

Figure . - CSM for M ZOOM. ON means the fl ash is in M ZOOM mode only.

Figure . - CSM for the LCD Panel Illuminator. ON means that the backlight function will activate when you push any button on the fl ash.

Figure . - CSM for Wireless Remote Flash mode. The squiggly arrow represents wireless mode.

NOTE

If you turn the backlight function o� , the backlight button on the camera body will still cause the � ash backlight to turn on.

Dedicated Flash

44

AF IlluminationUse this setting to disable autofocus illumi-nation on the � ash (� gure .).

NO AF-ILL- • Turns o� the AF Illumina-tion feature.AF-ILL-• Turns on the AF Illumination feature.

Beep On/Off � is item is available only a� er you turn on Wireless Remote Flash mode (� gure .).

ON- • Turning the beep on activates the � ash’s beeps during normal operation. OFF- • Turning the beep o� keeps the � ash silent.

READY Light� is setting activates or deactivates the blinking LEDs on the front of the � ash when you are in Wireless Remote Flash mode (� gure .).

ON- • Activates the blinking LEDs.OFF-• Deactivates the blinking LEDs.

Using the SB-600 as a Dedicated Flash

Most people use the SB- as a Dedicated � ash attached to the camera’s hot shoe (� gure .). In this con� guration, you can use the � ash in any of these standard modes:

TTL BL• TTL• Manual• A fully Dedicated � ash means that all of

the � ash’s capabilities can be used by the camera body. Also, the � ash and the camera body communicate back and forth to relay information such as zoom settings, aperture, shutter speed, and power.

Figure . - CSM for AF Illumination

Figure . - CSM for turning the beep on or off

Figure . - CSM for the READY Light LEDs

Figure . - The SB- makes a great Dedicated fl ash as shown here on the D


44

Figure . - The SB- also serves as a Dedicated fl ash when connected via a TTL cord like the SC-, SC-, or SC-

Using the SB- as a Remote Flash

44

� e SB- also functions as a Dedicated � ash when attached via a TTL remote cord such as the SC-, SC-, or SC- (� gure .). � ese cables provide full TTL opera-tion as if the � ash were mounted on top of the camera.

In shooting scenarios where you want to operate quickly, I suggest setting the � ash mode to TTL BL. Table . shows some general settings for the camera and � ash in various scenarios.

Using the SB-600 as a Remote Flash

As you know, the SB- can operate in two con� gurations. � e � rst is Dedicated mode where the � ash takes its directions directly from the camera body. � e second is Wire-less Remote mode where the � ash takes its directions from a Commander � ash through pulses of light.

� e power and � exibility of the Nikon CLS (Creative Lighting System) truly exists in Wireless Remote mode. To set up the SB- as a Remote � ash, you must go into CSM and turn on Wireless Remote mode. Here are the steps: . Turn on � ash. Simultaneously press ZOOM and - but-

tons for two seconds. Press + button until you see the squiggly

arrow. Press MODE button until you see ON. Press ON/OFF button. Press MODE button to navigate to Chan-

nel. Press + or - button to change Channel. Press MODE button to navigate to Group. Press + or - button to change Group. Make sure the Commander � ash is set to

same Channel and Group. Take picture

System Setup for Common Shooting Scenarios

Shooting Camera Flash FlashScenario Sync Mode Mode Power Comments

Outdoor Slow + TTL BL -. Goal is to use subtle � ll � ash

& Travel Rear balanced with ambient light

Window Slow + TTL BL -. Goal is to combine � ll � ash with

Portraits Rear ambient light or window light

Formal Lighting Normal TTL BL Variable Goal is for � ashes to provide

(umbrellas and (Front or of light with no ambient light to

stands with � ash Curtain) Manual speak of. Change power as needed

on TTL cable) for each subject and scene.

Wedding Normal TTL BL . (but Goal is for � ash to provide

Reception in (Front or AA change as of light. Mount � ash on bracket

Dark Room Curtain) necessary) and use di� usion dome.

Table .


44

Once you con� gure the � ash as a Remote unit, the SB- gets its instructions from the Commander � ash unit. � ese instruc-tions are broadcast via light pulses (chapter , � gure .), and the SB- “sees” these pulses from the Light Sensor (� gure .).

Make sure you point the Light Sensor towards the Commander � ash. Even though it is sensitive, sometimes communication fails because the sensor literally can’t see the light.

� e SB- cannot be used as a Commander � ash unit. � is is di� erent from the SB- and SB-, which can be used as a Commander, Remote, or Dedicated � ashes.

When you con� gure the SB- as a Remote � ash, you must program it to the correct Channel and Group (� gure .). Most of the time, you can choose for yourself which Channel and Group you want. � e CLS � ashes have a total of four Channels and three Groups per Channel.

Sometimes people get confused about the hierarchy of Channels and Groups, so I made some simple tables to explain it further (tables . and .). Some Commander units, such as the D pop-up � ash, cannot be con� gured for di� erent Channels and Groups. � e D sends out � ash data only on Channel , Group A. Other Commander units like the D/D pop-ups, SB-, SB-, and SU- can work with multiple Channels and Groups.

Figure . - The SB-’s Light Sensor “sees” the light pulses from the Commander fl ash

Figure . - When the SB- is in Wireless Re-mote mode, make sure that the Channel and Group are the same as the Commander unit. This fl ash is set to Channel , Group C; therefore, the Commander needs to be programmed to send data on Channel , Group C.

Using the SB- as a Remote Flash

44

� e following tables summarize how Channels and Groups are organized.

Wireless Flash Channels and Groups

Channel Groups Available

A, B, C

A, B, C

A, B, C

A, B, C

Commander Unit Channels and Groups

Commander Available Channels and Groups

SB- CH , , ,

Groups A, B, C

SU- CH , , ,

Groups A, B, C

SB- CH , , ,

Groups A, B, C

D CH

Group A

D, D, D, CH , , ,

D, D Groups A, B


55



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Prior to the SB-, the SB- was Nikon’s � agship Speedlight, and it still deserves its reputation as an extremely capable strobe. � e SB- is a great all-around, very rugged � ash. It will serve you well for many years.

� e SB- is typically used in three ways: Dedicated � ash mounted directly to your • cameraCommander � ash to control other wire-• less remotesWireless Remote � ash•


Flash HeadTo point the � ash head in di� erent direc-tions, press the Tilt button (� gures . and .) with your � nger and rotate the head. � e � ash head on the SB- rotates degrees side to side and degrees vertically. You need to press the button to begin movement, but you don’t need to keep pressing it to con-tinue.

If you look closely at the back of the � ash head, you will notice it has angle scales on it. However, they are not really useful unless you are telling someone else how to set up your � ash.

� e SB- also has a - degree position (� gure .) that is used for doing macro work when mounted on top of your camera. Pay close attention to this setting, because many functions of the � ash are not accessible when the head is at - degrees (e.g., GN).

Figure . - SB- fl ash head at - degrees, front position. This position is used for macro pho-tography.

Figure . - SB- Tilt button. Push this button to rotate or tilt the fl ash head. In this example, the fl ash head is at the horizon-tal front position.

Figure . - SB- fl ash head at degrees, front position


5

Wide Angle AdapterIf you use a lens with an angle wider than mm, it makes good sense to pull out the Wide Angle Adapter (fi gure .). Notice that when you deploy it, the fl ash automatically zooms to mm (fi gure .). Th is means that the Wide Angle Adapter allows an angle of cov-erage the same as a mm lens. If you don’t

deploy it in this situation, you run the risk of light fall-off in the corners of the photograph (fi gures . and .).

You can also zoom the fl ash to mm by pressing the zoom buttons (tree-shaped icons) on the SB-. When the Wide Angle Adapter is deployed, only two zoom settings are available: mm and mm.

Figure . - Wide Angle Adapter is deployed

Figure . - This shot was taken with a mm lens pointed at a white wall. The fl ash was set to mm. Notice the strong light fall-off in the corners.

Figure . - This shot was also taken with a mm lens but with the Wide Angle Adapter deployed. There is still light fall-off in the lower corners, but the coverage is much improved.

Figure . - When the Wide Angle Adapter is out, the zoom setting automatically changes to mm as the default. You can also choose mm by pressing the zoom buttons.


55

Bounce CardNikon includes a small built-in bounce card on the SB-. � e card automatically ex-tends when you pull out the Wide Angle Adapter (� gure .). � e purpose of the bounce card is to re� ect light forward to the subject while allowing some of it to bounce o� the ceiling. Doing this hopefully creates a nice catch light in the subject’s eyes. It also serves to lighten up the dark shadows that frequently appear under the eyes.

In reality, the built-in ." x ." bounce card is too small to be very e� ective. A real bounce card should be at least " x " or larger (� gure .). Bigger is better when it comes to

light di� usion, and bounce cards are no di� er-ent. Most photographers who use bounce cards end up taping or rubber-banding a larger card to the back of the SB-. � ese provide much better results.

If you do want to use the built-in bounce card, point the � ash head upwards about degrees. At this setting, some light will bounce o� the ceiling (assuming you are inside), and some light will re� ect o� the card towards the subject. I like to extend the Wide Angle Adapter when using the bounce card, but if you want, you can push it back into the � ash head.

Figure . - When using the bounce card, deploy the Wide Angle Adapter for best results. Also, point the fl ash head upwards at degrees.

Figure . - This is a “real” bounce card that actually has some usable surface area. It is ” x ”. The big-ger your bounce card, the better your fl ash results! Attach it with Velcro or gaff er tape.


55

Notice that the back of the SB- bounce card has a “cheat sheet” that shows the most-used buttons on the � ash (� gure .). � is is helpful if you forget how to get into your Custom Settings Menus or how to lock the button pad (� gure .).

Wide Area AF Assist Illuminator� e Wide Area AF Assist Illuminator is a fan-tastic feature that automatically activates in dark rooms to assist your camera’s autofocus sensors. � is feature normally overrides the camera body’s AF Assist Illuminator (found on cameras like the D, D, and D). � is pattern also activates when the � ash is used with a TTL extension cord such as the SC-, SC-, or SC- (� gures . and .).

Figure . - The Wide Area AF Assist pattern is generated behind the red window in the front of the fl ash

Figure . - Cheat sheet on the back of the SB- bounce card

Figure . - A good substitute for a bounce card is to use your hand instead. Your hand will add a nice warming eff ect to the light and produce excellent results. Try it, you’ll like it!



55

Light Sensor for Auto Flash� e SB- has the special ability to work as an automatic � ash unit. What this means is that it can determine the appropriate expo-sure automatically by using its own built-in light sensor (� gure .), rather than by us-ing the camera’s TTL exposure system. More information on how this works appears later in this chapter.

External Power Source Terminal� e External Power Source Terminal is locat-ed on the front of the � ash behind the plastic Nikon insignia (� gure .). Pull o� the little plastic cap to access the terminal. If you use accessory � ash power such as the Nikon SD-A, SD-, or an alternative product such as a Sunpak, Quantum Turbo, or Al Jacob’s Black Box (see chapter ), plug the unit into this part of the � ash.

IMPORTANT!

You must set up the following things properly for the Wide Area AF Assist Illuminator to work:

Turn on the autofocus (the switch on the . camera body down by the lens mount)Set your camera to AF-S (not AF-C). Position the autofocus sensor so it can “see” . the � ash’s red pattern—for example, in the center position of your camera’s view� nderMake sure the ambient light is dark enough . for the camera to activate the red patternTurn on your � ash and your camera . Turn on your � ash’s Custom Settings Menus . for AF-ILL

Once these conditions are met, the AF Illumi-nation pattern will work from the � ash head. (Why can’t they make this stu� easier?)

NOTE

Note that this sensor is di� erent from the wireless TTL sensor shown in � gure ..

Figure . - The Light Sensor for Auto Flash mode (A or AA)

Figure . - The External Power Source Terminal. Remove the plastic Nikon cap to access these pins.


55

Light Sensor WindowWhen the SB- is con� gured as a Remote � ash, this is where all the communication takes place between it and the Commander � ash (� gure .). Be sure to point this win-dow towards the Commander � ash.

� e window works best in the shade or in a dark room away from bright ambient light. I’ve had some problems making the system work in direct sun and assume the reason is because the Remote � ashes have a hard time distinguishing between � ash pulses and direct sun.

Many times I have an assistant hold the Remote � ash and aim it at the subject. In this scenario, make sure the assistant’s thumb does not cover the window. Unfortunately, Nikon placed it at the perfect location for a thumb grip! (Figures . and ..)

Figure . - The Light Sensor Window for wire-less TTL fl ash control is located beside the battery chamber. Point this sensor towards the Com-mander fl ash.

Figure . - Be sure not to cover the Light Sensor Window with your thumb

Figure . - This is the correct way to hand hold the fl ash without covering the Light Sensor Win-dow


55

Battery Chamber Lid� e Battery Chamber Lid is simple to oper-ate: just slide the cover down to the “un-locked” position and then open up the chamber (� gure .). � e lid is designed to be removed so you can add the Extra Battery Holder (details in next section).

I � nd over time that the battery contacts can corrode, causing a poor connection between the batteries and the � ash. To reme-dy the problem, I clean them with a pencil eraser or lightly scrape them with a pocket knife. Also, the tabs deep inside the battery chamber can form light corrosion, so I clean those o� as well.

Extra Battery HolderIf you need extra battery life and faster re-cycle times, consider attaching the Extra Battery Holder. � is is a good accessory, and I recommend using it if you need the capac-ity. In order to attach it to the � ash, you must remove the SB- battery door by following these steps:. Open door . Rotate door to the side (� gure .). Place � � h battery in battery holder. Slide battery holder into place (� gure

.)

In most of my photography, I choose to use the four-battery setup rather than the � ve-battery setup. � is is because most of my battery chargers have four positions and also because my plastic battery cases hold four batteries. Since my work� ow is very easy with four batteries, I don’t attach the Extra Battery Holder.

Figure . - SB- Battery Chamber Lid

Figure . - Removing the battery door is very easy. Just open it up and rotate it to the side as shown in the second photo. It will pop off the hinge quickly.

Figure . - Add the Extra Battery Holder to the fl ash by pushing it onto the door slot and clicking it into place


55

ON/OFF Button � e ON/OFF button is, of course, used to turn the � ash on and o� , but it also serves several additional functions:

Press ON/OFF to bring the � ash out of • Standby modePress ON/OFF to exit from the Custom • Settings MenusPress ON/OFF and SEL simultaneously to • lock the � ash’s buttonsPress ON/OFF and MODE simultaneously • to reset the � ash to defaults

Be sure to turn the � ash o� before you attach or remove it from the camera body (� gure .). � is prevents any short circuits as well as preventing the � ash from � ring.

+/- Buttons� e + and – buttons, or Flash Compensa-tion buttons, are generally used to control the power output of the � ash (� gure .). Depending on what mode the � ash is in, the output is shown in terms of stops or frac-tions.

� e default setting for the � ash is .. � is means the � ash will put out enough light to capture the scene at medium brightness. Stated another way, if your � ash is set up for ., then it will expose the subject as bright as an gray card (� gure .).

In TTL mode or TTL BL mode, the +/- buttons control � ash output compensation in stops. � ey are independent from the Exposure Compensation button found on top of your camera body (� gure .).

If you press the + button one time in TTL mode, the � ash will display +/ on the LCD readout. � e +/ symbol will blink for a few seconds and then stop blinking to indicate the new setting. When you take a picture with +/, the exposure will be brighter by . stops than the same photo with .. Figure . - SB- ON/OFF button

Figure . - The +/- buttons, or Flash Compensa-tion buttons, control fl ash power

Figure . - Flash Compensation on the SB- is shown in terms of stops. In this case, -/ means two-thirds of a stop less light than ..


55

On the other hand, if you press the - button, you decrease the amount of � ash compensa-tion. For example, a value of -/ will decrease � ash output by . stops from .. Stated another way, the � ash will put out -/ stops from what would be required to illuminate your subject at gray (� gure .).

When you set the flash mode to Manual, the +/- buttons still control flash output but

the readout changes to fractions. Remember that in TTL and TTL BL modes, the camera automatically controls the flash output to what it thinks is correct. However, in Manual mode, you are the brains behind the output. You must figure out how much light to add to the scene by using a Guide Number calculation, hand-held light meter, or trial and error.

Figure . - The Exposure Compensation button on your camera is diff erent from the Flash Compensa-tion buttons. Exposure Compensation changes the amount of ambient light in the exposure.

Figure . - The Flash Compensation buttons only change fl ash output. Exposure Compensation only changes shutter speed or aperture.


55

Zoom ButtonsOne of the great features of the SB- is its ability to focus the beam of light from the � ash head. � is is a good thing because you generally want the entire scene to be evenly lit by the � ash. As you zoom the lens to a wider angle, the � ash must illuminate a larg-er area. So, at the same time the lens zooms, the � ash head will also zoom.

On Nikon camera systems, the lens sends zoom information to the camera body, which then forwards it to the � ash. Say, for example, you set your lens to mm; then your � ash will also zoom to mm to provide the same angle of coverage. � is is called Auto Zoom on the � ash. You can override the Auto Zoom function and zoom manually by pressing the zoom icons next to the SEL button on the back of your � ash that look like little trees (Figure .). Pushing the icon with three trees will result in a wider angle zoom and pushing the icon with one tree will result in a telephoto zoom setting. A� er pushing either of these zoom buttons, the � ash’s LCD will now display M ZOOM in the lower le� (Figure .).

Figure . - When you press the zoom buttons (represented as trees), you override the Auto Zoom function and go into the M ZOOM mode.

Figure . - When the Wide Angle Adapter is ex-tended, the fl ash automatically sets the zoom to mm or mm

Figure . - Pressing the zoom buttons (tree icons) allows you to choose between mm and mm when the Wide Angle Adapter is extended.


55

IMPORTANT!

On Nikon camera systems, the lens sends zoom information to the camera body, which then forwards it to the � ash. Say, for example, you set your lens to mm; then your � ash will also zoom to mm to provide the same angle of coverage. � is is called Auto Zoom on the � ash. You can override the Auto Zoom function and zoom manually by pressing the zoom buttons, which displays on the � ash’s LCD as M ZOOM (� gure .).

Following are three other details you need to know about:

Let’s say you zoom the � ash to mm and . the LCD shows M ZOOM. If you want the � ash to re-synchronize with the lens, then you need to follow these simple steps:

Turn lens barrel to mm

then

Press zoom buttons on � ash until it is set to mm

OR

Turn lens barrel to any zoom setting

then

Press zoom buttons on � ash until it is set to same zoom setting.

When you have the Wide Angle Adapter ex-. tended, the SB- will only zoom between mm and mm. You can change from one to the other by pressing the zoom but-tons as shown in � gures . and ..

When you mount a di� usion dome on the . SB- (� gure .), a micro switch on the bottom of the � ash head (� gure .) detects the dome and defaults the zoom to mm. � ere is no way to override this unless you cut away the plastic on the dome, but there is no reason to do so. Just leave it at mm and be happy.

Figure . - When you use a diff usion dome, the fl ash defaults to mm zoom.

Figure . - The fl ash knows a diff usion dome is mounted because of the micro switch on the out-side of the fl ash head (inside the red circle).


55

Diff usion Dome� is little piece of plastic is one of the great-est inventions ever made for � ash photog-raphy (� gures . and .). Its purpose is to di� use the light from the � ash and force it to spread all around the scene and sub-ject. I use a di� usion dome when I photo-graph events and don’t have time to set up elaborate lighting equipment. I also use it for

macro photography, portraits, and just about everything else under the sun.

� e proper way to use a di� usion dome is to place it on the � ash and then point the � ash head upwards about degrees (� gures . and .). � is allows the dome to do its job by sending light all around the room. I frequently use it in conjunction with a � ash bracket (� gure .) to minimize the e� ect of the shadow.

Remember, when a di� usion dome is placed on the SB-, it defeats the zoom function of the � ash. It does this by depress-ing a micro switch on the bottom of the � ash head.

Some SB- owners wonder whether to use the Wide Angle Flash Adapter along with the di� usion dome. � e answer is no. � ere is no need to di� use behind the di� usion dome. � at’s straight from the Department of Redundancy Department.

Figure . - Diff usion dome in use when the cam-era is horizontal. Point the fl ash head upwards at degrees for best results.

Figure . - Diff usion dome in use when the cam-era is vertical. Point the fl ash head upwards at degrees for best results.

Figure . - Diff usion dome with Stroboframe Quick Flip fl ash bracket. A fl ash bracket is the best option for event photography.


55

If you ever lose a diffusion dome, you can buy a replacement through Nikon or buy off-brand models from companies like Sto-Fen. Sto-Fen makes great replace-ment domes, and I highly recommend them

(www.stofen.com). In addition, there are plenty of other products that do a great job of diffusing the flash, such as Harbor Digital Design’s Ultimate Light Box (www.harbordigitaldesign.com).

MODE ButtonLike most of the controls on the SB-, the MODE button (� gure .) performs a num-ber of functions depending on how the � ash is con� gured.

When the � ash is set up as a Dedicated Speedlight (i.e., not a Remote � ash or a Commander � ash), the MODE button switches between seven � ash modes: TTL BL, TTL, A, AA, GN, M, and RPT (� gure .). When the � ash is not attached to the camera (or the camera is powered o� ), you can only choose from � ve modes: TTL, A, GN, M, and RPT.

Figure . - Wedding photo taken with diff usion dome and fl ash bracket. Notice the soft light and the shadow hidden behind the young girl. D, SB-, diff usion dome, Stroboframe bracket, SC- cable. Camera set up for SLOW REAR sync and fl ash set for TTL BL -..

Figure . - The diff usion dome on the left is an SB- model from Nikon. The diff usion dome on the right is a Sto-Fen model for an SB-.

NOTE

In order to choose between A and AA, you need to make a change in the Custom Settings Menus. Starting from the top le� , select the following: TTL BL, TTL, Auto Aperture, Auto Flash, Guide Number, Manual, Repeat.

Figure . - SB- MODE button


55TTL BL ModeTTL stands for “� rough � e Lens” metering and BL stands for “Balanced” � ll � ash (� gure .). Nikon refers to this mode as “Automat-ic Balanced Fill Flash”. Its goal is to balance the ambient light (background) with the sub-ject (foreground). I use TTL BL for the vast majority of my photography and � nd it to be reliable for fast shooting.

In TTL BL mode, the SB- puts out a pre� ash that is re� ected back to the camera’s � ash metering system (the Matrix meter). � e camera then quickly calculates the correct amount of light for the scene. You can watch this pre� ash sequence happen if you pay close attention to the � ash when it � res.

� e pre� ash delay is fairly long on slower cameras like the Nikon D, but very short (almost imperceptible) on fast systems like the DX and D. Unfortunately, the pre� ashes

can cause people to close their eyes during the shot, which can be very frustrating for the photographer. Sometimes the only way to get around this is to tell your subjects to try to keep their eyes open until the sequence is � nished. Obviously, this is easier said than done.

Another way to get around the pre� ash is to turn your � ash to Manual mode; or, you can use a function called FV Lock. See chap-ter for more information on how to cure this problem with FV Lock.

TTL Mode� is mode is o� en called Standard TTL. Its purpose is to expose only for the subject and not for the background light. TTL mode goes back a long way in Nikon camera systems and is truly the legacy mode. It does a good job, but I have found that TTL BL seems more accurate and consistent (� gure .).

Figure . - The SB- has seven modes when used as a regular Dedicated fl ash. To select them, press the MODE button on the back of the fl ash.

Figure . - SB- in TTL BL mode Figure . - SB- in TTL mode


55



AA ModeAA stands for Auto Aperture. In this mode, the � ash makes the exposure decision au-tomatically without using the camera’s TTL Matrix Meter system.

� is mode is typically used when you need more shot-to-shot consistency than TTL BL can provide. Unfortunately, TTL BL doesn’t always provide consistent exposures when you take a large number of shots of a variety of subjects. For example, at a wedding, TTL BL might slightly underexpose photographs that include the bride’s white dress while slightly overexposing photos that include black tuxedos.

� is variation from shot to shot can be very frustrating for a professional photogra-pher who plans to present wedding photos to a client in one showing. If you show a photo of the bride by itself, it would look OK; but if you show a number of photos side by side, the TTL BL variation quickly becomes apparent. � e reason is that TTL takes every scene and modi� es the exposure based on its overall re� ectance (brightness).

AA mode takes the camera’s TTL meter out of the � ash calculation and instead uses the SB-’s built-in light sensor. Exposures using AA tend to have less brightness varia-tion from shot to shot, but they take a little more e� ort to pull o� .

� is mode uses lots of information to determine the � ash exposure, including:

Lens Aperture• Camera ISO• Exposure Compensation Setting• Lens Focal Length (zoom)• Even though this mode tries to auto-

mate the � ash exposure, it does not use the camera’s TTL Matrix Meter system: hence the name Auto Aperture Flash. AA means that the � ash makes the exposure decision automatically.

You can use this setting in one of two ways:. Set the aperture and then work within a

general shooting distance range. � is al-lows the � ash’s sensor to take up the slack. Your shooting range is shown on the back of the � ash in either feet or meters (� gure .). For example, the � ash might state .- feet, which means it will operate well at any distance between those two values.

. From your known distance, adjust the aperture on the camera until the � ash is within range. Say, for example, you are feet from the bride and want to get a well-exposed image of her in AA mode. Adjust the aperture (on the camera) until the distance range on the back of the � ash in-cludes feet and take the picture. It will look something like the example below.

Figure . - SB- in AA mode. The fl ash displays an operating range (.- feet) which is the sub-ject-to-fl ash distance.


55Figure . - AA mode, direct fl ash

Figure . - AA mode, bounced off ceiling

Figure . - TTL BL mode, direct fl ash

Figure . - TTL BL mode, bounced off ceiling


55

Figures . through . compare shots taken in AA and TTL BL modes. � e photos on the top row were taken with the � ash head pointed directly at the subject with no di� u-sion. � e photos on the bottom row were taken with the � ash head pointed at the ceil-ing to di� use the light. � e le� photos are AA mode, and the right photos are TTL BL mode.

In general, I � nd that AA mode tends to expose the subject about / to / of a stop brighter than TTL mode. � is isn’t necessar-ily a bad thing, just a reality of the system. Once you get a handle on the exposure, you can change the power by pressing the � ash’s + and - buttons until you are happy with it.

A ModeA stands for Auto Flash. � is mode uses only the SB-’s built-in sensor to measure the light re� ected from the subject. � is is di� erent from AA mode where the camera communicates aperture, lens, ISO, and ex-posure compensation data to the lens. When the � ash’s sensor decides enough light is re-� ected back, it shuts down power to the � ash head and stops outputting light (� gure .).

� e neat thing about A mode is that the � ash works “automatically” on most of the

cameras you own, including your older Nikon � lm cameras and even o� -brand cameras like the Pentax K. � ere is no back-and-forth communication between the � ash and the camera body, so you have to trust the � ash to do everything.

If your camera is a newer Nikon SLR like the D, D, D, D, D, D, D, D, or D, you actually have to con� gure the � ash to operate in plain old A mode rather than AA mode. To do this, go to Custom Settings Menus and change the settings for A/AA (� gure .). Here are the steps:. Press and hold the SEL button for two sec-

onds. Press the + or - and zoom buttons until

you see the A/AA box. Press SEL button. Choose A by pressing - button. Press SEL button. Press ON/OFF button

In A mode, you generally set the camera’s exposure mode to Aperture Priority or Manual. � e next step is to press the + or - button until the aperture on the � ash equals the aperture on the camera body, or until the shooting distance on the back of the � ash matches the shooting distance of your subject. Now, take the picture. Simple, right?

Kind of. � ese instructions need to take more into account than just making the setting and pressing the shutter release button. Many photographers, like wedding and event photographers, also put their hand-held light meters into the equation for

NOTE

In � gures . and ., both � ash modes did a nice job with the exposure when the � ash was bounced o� the ceiling.

Figure . - SB- in A mode Figure . - Change the A/AA custom setting if you want the fl ash to operate only in A mode rath-er than AA mode


55

these shots. If your goal is to get more consis-tency than TTL BL will give you, it’s going to take some e� ort.

Here is the process for e� ective (consis-tent) Auto Flash usage at an event:. Set � ash for A (Auto Flash) mode. Set camera’s ISO between and . Set camera for Manual exposure. Set shutter speed to / second. Set aperture to f/ on your camera. Set aperture to f/ on your � ash. Place hand-held light meter � ve feet away

from � ash. Take a photograph of subject � ve feet away

and note hand-held meter aperture reading. Repeat this process for subjects at feet,

feet, and feet. Write down the hand-held meter values

for the � ash readings (e.g., feet = f/, feet = f/, etc.)

. � ese are the aperture settings for your event

. To take photos with these values at the event, mentally estimate how far away your subjects are and set the correspond-ing aperture into the camera body

For example, let’s say you want to photograph people at the local square dance on Saturday night and get great � ash photos using A mode. I suggest you get there early and start testing using the steps outlined above. When you are done testing, you will have some information like this:

feet = f/• feet = f/• feet = f/.• feet = f/.• When it comes time to snap a photograph

of the square dancers at feet away, set f/. (f/.) on the camera and take the shot. Notice that the settings on your � ash haven’t changed from your initial values of f/ and ISO (or ).

Now it’s simple, right? Right. Go ahead, roll your eyes.

GNGN stands for Guide Number. � is manual � ash mode utilizes the SB-’s published Guide Number to help you calculate a � ash photograph (� gure .). � is mode might actually be called a “distance priority” method for determining � ash exposure. You arrange your photograph so that you know the exactdistance from the � ash to the subject, and then you program that number into your � ash. Figure . shows a value of . feet (the big number in the screen). � is means if your subject is . feet away from the � ash, then the photograph will be properly exposed.

Here’s how it works:. Set the � ash mode to GN. Set the camera to Aperture Priority or

Manual mode. Measure the distance between the � ash

and the subject (e.g., . feet). Set the aperture on your camera (e.g.,

f/.). Press the � ash’s + and - buttons until the

large distance number on the back match-es the distance to the subject (. feet)

. Take the photograph

Note also that you can adjust the � ash output by changing the � ash compensation. To do this, press the SEL button until EV is highlighted. � en, press the + and - buttons to change � ash power (� gure .).

GN mode is pretty picky and requires a number of items to be con� gured properly on your � ash. Most important, the � ash head

Figure . - SB- in GN mode. The big number (.) shows how far away your subject should be for a proper exposure.


55needs to be set at the horizontal (front) posi-tion. However, there are many other reasons why this mode may not work properly. Some of them are:. Flash head is pointed down at the - de-

gree setting. Flash head is pointed up at an angle. Wide Angle Di� usion Panel is deployed. Di� usion dome is mounted on the � ash. Camera is turned o� (hey, it happens!)

M ModeIn Manual � ash mode (� gure .), you are responsible for determining � ash output. To do this, you basically have three choices:

Trial and error• Guide Number calculation• Hand-held light meter• � e � rst method of determining � ash

power is trial and error. Simply take a picture and review the results on your camera’s histogram screen. If it looks too bright, dial the � ash power down. If it looks too dark, then increase the power.

� e second method is to use a Guide Number calculation, which is contingent on knowing the � ash’s Guide Number. Although

the SB- has a published Guide Number of , it gets more complicated when you zoom the � ash head. For example, if you zoom the � ash head to mm, then the Guide Number is . If you zoom the � ash head to mm, then the Guide Number is . Table . will help you determine what the Guide Number is depending on your zoom and � ash power settings.

Once you know what the Guide Number is, you can run a calculation based on the Guide Number formula to set the aperture for your camera.


� e preceding formula doesn’t mean much to most people, but we can change it around to solve that problem. � e formula now looks like this:

Let’s assume you know your subject is feet away and your Guide Number is . According to this calculation, set your lens aperture to f/. and take the photograph. Easy!

But honestly, that is the old way to calcu-late � ash power. � ese days, TTL systems can do all of this for us—except when we’re in Manual mode, where there is no automated � ash calculation.

Figure . - Change the fl ash compensation by pressing the SEL button until EV is highlighted. Then press the + and - buttons.

Figure . - SB- in Manual mode. Here, the fl ash is set up to put out / power plus / of a stop.


55� e third and most accurate method for

setting � ash power in Manual mode is to use a hand-held light meter. You basically place the meter in front of your subject, � re the � ash, read the light meter values, and set them into your camera (e.g., f/ at / second).

Here is the process for using a hand-held light meter:. Set the � ash power to a speci� c value, such

as ¼ power. Set your camera and � ash meter to the

same ISO value. Place the meter in front of your subject

with the dome pointed towards the camera. Fire the � ash in Manual mode. Read the light meter values, such as shut-


at / second)

� is is the best way to calculate � ash expo-sure and is really the most accurate method you can use. It is how many professional photography studios set up � ash exposures.

You may ask, “Well, if this way is so good, then why does Nikon create all those other � ash modes?” � e answer is because the light meter method is slow and takes patience. It is impossible to capture candid shots if you always have to stop and take a � ash meter reading. Nikon keeps innovating new and exciting � ash modes like TTL BL to help us capture serendipitous scenes that would otherwise be lost.

RPT Mode� is mode is a lot of fun. RPT stands for Repeating Flash Mode, which is used when you want the � ash to � re repeatedly during a single exposure. Say you want to take a pho-tograph of a bouncing ping-pong ball (� gure .). You can use RPT mode to put out mul-tiple pulses of light while the ball bounces through the scene.

� ere are myriads of applications for this technique—for example, a dancer going through her routine, a mountain biker jump-


Flash Output Flash Head Zoom Position (mm)Level 14 24 28 35 50 70 85 105

/

/

/

/

/

/

/

/

Table .


55

ing o� a log, a bird � ying by, or a baseball player throwing a pitch.

Here is the process:. Set � ash mode to RPT. Push SEL button once to highlight the

� ash output level. Push + or - buttons to adjust power out-

put. Push SEL button again to highlight fre-

quency. Push + or - buttons to adjust frequency. Push SEL button again to highlight quan-

tity of � ashes. Push + or - buttons to adjust quantity. Set camera to Manual exposure. Calculate shutter speed (Shutter Speed =

Qty/Hz). Set Aperture on the camera body until

you get a usable working distance

Here is more detail on each step:Output Level: � is is set in fractions of full • power (/) Frequency (Hz): � is is how many � ashes • � re per second. For example, Hz means the � ash � res � ve times per second.Quantity: � is is how many times the � ash • � res until it stops. For example, a value of means the � ash will � re times and then stop.Calculating Shutter Speed: To calculate • shutter speed, divide Quantity by Fre-quency. For example, if the � ash � res a total of times and the frequency is � ve � ashes per second, then the duration of the sequence is two seconds ( � ashes di-vided by � ve � ashes per second is two sec-onds). Another example: if the � ash � res times and the frequency is two � ashes per second, then the duration of the se-quence is seconds ( � ashes divided by two � ashes per second is seconds). You then set that value as the shutter speed into your camera.Figuring Out Aperture: Look at the back • of the � ash, and you will see a distance value like . feet (� gure .). � is means the subject needs to be exactly . feet away in order to be properly exposed. � e smaller the aperture, the closer you must be to the subject. For example, f/ might require you to be two feet away (kinda close!) whereas f/ would allow you to be eight feet away. Keep adjusting the ap-erture on the camera body until you are happy with the working distance between � ash and subject. You can also increase the ISO to get some additional working distance.

When it comes time to � nally take the photograph, make sure the ambient light is very low or nonexistent. Also, try to make the background very dark—in other words, make your studio almost completely black. You typically want the entire scene to be

Figure . - SB- in RPT mode. This screen shows that the fl ash is set at / power and will fi re times at fl ashes per second.

Figure . - This photo of a bouncing ping-pong ball was taken in RPT mode. The settings for this shot were / power, pulses, Hz.


55

lit only by the � ash. Finally, position your subject far away from the background. � is will keep the � ash’s re� ected light from lighting up the background (� gure .).

OK, that’s it for the � ash modes on the SB-. Let’s continue on with the buttons and controls.

SEL ButtonUse this button to select di� erent settings on the � ash (� gure .). Here are some general uses for the SEL button:

Push SEL button for two seconds to access • the Custom Settings MenusPush SEL and ON/OFF buttons simulta-• neously to lock the � ash buttonsPush SEL and MODE buttons simultane-• ously to recall the underexposure amount from your last (failed) � ash shotPush SEL button to choose power, fre-• quency, and quantity in RPT mode

Push SEL button to choose Channel and • Group in Remote modePush SEL button to choose Channel, Group, • Mode, and Power in Commander mode

READY LightWhen the READY light is on, it means that the � ash’s capacitor is fully charged and ready to take the next picture (� gure .). A� er you take a photo, the READY light turns o� while the � ash recharges its ca-pacitor. Once the capacitor is recharged, the Ready light turns on again. � e READY light also coincides directly with the beep of the � ash in wireless mode.

When you are waiting between photos, the � ash will periodically go into Standby mode. At that point, the READY light turns o� until you wake up the � ash by pressing the ON/OFF button or the camera’s shutter release button (� gure .).

Figure . - This image represents each pulse of the fl ash, starting from pulse and ending at pulse . The ball was bouncing from right to left. The settings for this image were: Frequency: Hz. Total Pulses: . Shutter Speed: two seconds. Aper-ture: f/. Background: black sheet.

Figure . - SB- SEL button. “One button, so many uses!”

Figure . - The READY light is illuminated when the fl ash’s capacitor is fully charged

Figure . - When the fl ash goes into Standby, the READY light turns off


55

Because the � ash does not have a battery level indicator, the READY light is the only way to really tell how much power remains in your batteries. Speci� cally, the longer it takes for the READY light to illuminate, the lower your battery life. If you � nd that it takes four to � ve seconds a� er each shot to recharge the � ash, then it is probably time to change your batteries (� gure .).

Finally, the READY light blinks rapidly if you take a photograph and the � ash does not have enough power to light the scene. In this situation, the � ash indicates underexposure by a minus sign in the upper right corner of the LCD. � e rapid blinking is your cue to check out the underexposed value and then change aperture, ISO, distance, or zoom in order to take the shot (� gure .).

FLASH ButtonSince the beginning of time (or � ash time at least), � ashes have had this button (� gure .) so people can press it and watch the � ash � re. However, in TTL BL or TTL mode, it serves no purpose other than to con� rm that the � ash is on and working properly. Also, in TTL BL or TTL mode, pressing the FLASH button will cause the � ash to put out only about / power.

� e real use of this button is in Manual mode. In this case, the � ash will put out exactly the amount of power you dial into it. If you use a hand-held � ash meter in a tradi-tional studio environment, you can take a meter reading without tripping the shutter on your camera to � re the � ash.

A neat feature of the SB- is that it can use the FLASH button to “speak” to the other � ashes in a wireless system. If you set up the SB- as a Commander � ash, then pushing the FLASH button activates all the � ashes listening to it. It pings the other � ashes, caus-ing them to ping back—a valuable feature when you need to make sure all the � ashes are set to the same Channel and Group. Plus, it’s just plain fun to push the button and watch the other � ashes respond!

Figure . - This picture was underexposed by two stops. You can see the readout on the upper right corner of the LCD.

Figure . - To see how underexposed the last photo was, press the MODE and SEL buttons to-gether

Figure . - SB- FLASH button


55

Mounting Foot Lock LeverObviously, this lever locks the � ash on top of the camera. I highly recommend using it. It is especially important when you mount the � ash to accessory platforms like light stands or other tripods. You don’t want the � ash to fall o� and smack on the ground (� gures . and .).

Hot Shoe Contacts� ere are four metal contacts on the bottom of the � ash and four round circular contacts on the camera’s hot shoe. Obviously, all four pins on the bottom of the � ash must match up properly with all four contacts on the camera. If not, then the � ash and camera cannot communicate.

I have had this happen many times when I moved too quickly and didn’t fully secure the flash to the camera body. Nothing says “amateur” like staring at your flash and wondering why it won’t fire (figures . and .)!

Figure . - Lever is unlocked. Notice that the locking pin does not protrude from the base (red circle).

Figure . - Lever is locked. Here, the locking pin does protrude from the base (red circle). When the fl ash is mounted, the pin will lock into the hot shoe and prevent the fl ash from falling off the camera.

Figure . - The fl ash has four conical electrical contacts that need to match up with the four con-tacts on the camera



55

External AF Assist Illuminator ContactsIf you have the SC- � ash TTL extension cable, then two metal contacts on the SB- enable the unit to function with the Wide Ar-ea AF Assist Illuminator. Basically, these two contacts match up with the SC- cable so you can activate or deactivate the AF Assist function. � e SC- has a lever switch on the front that allows you to turn o� the SB- AF Assist lamp and use only the AF assist lamp at the other end of the cable, mounted on the camera body (� gure .).

Why would you do this? Let’s say you have the � ash mounted to the TTL cable, but you are bouncing the � ash o� the ceiling or a wall. In this situation, the � ash will emit the AF Assist pattern onto the ceiling or wall, not at the subject. But if you purchase the SC- cable, you can still use the AF Assist pattern function because there is an additional AF box that mounts on the camera body. Problem solved!

Modeling Light ButtonOne of the neatest features of the SB- is the Modeling Light, which gives you the op-portunity to see where the shadows are going to fall before you take a photo. To activate the Modeling Light, press the button (� gure .). It’s that simple.

Figure . - The AF Assist contacts allow you to use the SC- cable for auto focusing in dark rooms Figure . - Press the Modeling Light button to

activate the fl ash’s own Modeling Light or the Re-mote fl ashes’ Modeling Lights


55I use the Modeling Light whenever I am

worried about a shadow behind the subject. If I � nd a shadow, then I move the subject or myself until there is no longer a shadow. In addition, I might press the Modeling Light when bouncing the � ash o� the ceiling or a wall to see the e� ect on the subject’s face or under their eyes.

� ere’s another cool thing about the Modeling Light: when the SB- is in Commander mode, you can trigger the Remote � ashes with the Modeling Light button and make them respond (� gure .). Follow these steps:. Set up SB- as a Commander � ash. Set up Remote � ashes to correct Channel

and Groups. Press SEL button on Commander SB-

until you hover over Group A. Press Modeling Light button (Group A

� ash triggers). Press SEL button on Commander SB-

until you hover over Group B

. Press Modeling Light button (Group B � ash triggers)

. Press SEL button on Commander SB- until you hover over Group C

. Press Modeling Light button (Group C � ash triggers)

TTL Multiple Flash TerminalUse this terminal (� gure .) when you want to synchronize multiple � ashes on a camera that is not CLS compatible (like the Nikon F). � e CLS cameras (D, D, D, etc.) use a monitor pre-� ash that would normally cause older camera/� ash combi-nations to � re during the pre-� ash. Older Nikon TTL systems don’t incorporate a pre-� ash into the TTL calculation.

When you use this setup, your other remote � ashes can be older standard TTL � ashes like the SB- or SB-, and you can even add newer � ashes like the SB-. You can sync approximately � ve � ashes together using the correct cords (SC-, SC-, SC-, or SC-). Remember, all the � ashes must be in TTL mode, not TTL BL mode.

Figure . - In Commander mode, you can acti-vate the Remote fl ashes’ Modeling Lights from this screen. Press SEL until you hover over each group (e.g., Group C), then press the Modeling Light but-ton. The Group C fl ashes’ Modeling Lights will be activated.

Figure . - The top terminal is the TTL Multiple Flash Terminal. The bottom terminal is the Sync Terminal.


55

To set up the � ashes in this manner, follow these steps:. Set camera to Aperture Priority or Manual. Attach the SB- to the camera (must

be a non-CLS compatible camera like the F or Ns)

. Set � ash mode to TTL. Attach sync cord to Commander � ash. Attach sync cord to Remote � ash. Set Remote � ash to TTL. Take picture

Sync TerminalIf you use standard studio lighting equip-ment, then you will use the Sync Terminal (� gure .). Back in the day, we called this the PC cable, which stood for Positive Con-nection. All of the old cameras had built-in PC ports, so you just hooked the PC cable to the lights and the studio � ash power pack, and voila, you were ready to go.

Nowadays, some cameras have built-in PC ports and others do not. For example, the Nikon D, D, D, D, D, and D do not have PC ports, but the D, D, D, D, D, and F do. Nikon provides a PC port on the SB- so it can be used as a studio light trigger even with cameras that don’t have a PC port. Nikon sells PC sync cords such as the SC- and SC-, but you can buy these types of cables from any camera store on the planet.

Here are the steps for using the PC termi-nal on the SB-:. Turn o� � ash. Mount � ash on camera. Turn on � ash and set it for Manual mode. Connect sync cord to � ash PC terminal . Connect sync cord to studio � ash power

pack. Turn on � ash and power pack. Take picture

Two-Button Controls� e SB- has some hidden functions that are only accessible when you press two but-tons together. Unfortunately, you need a re-ally good memory because the combinations aren’t shown with white lines on the back of the � ash like the SB-. But if you do forget them, you are in luck because Nikon printed them on the back of the SB-’s bounce card (see � gure .).

Figure . - PC cable terminal on the D

Figure . - This is your two-button control cheat sheet, located on the back side of the SB-’s bounce card


55

Here are the hidden functions you can access when you push two buttons together:

ON/OFF and SEL = Button Lock. Use this • combination when you want to prevent someone from changing the settings on your � ash. � is is useful when you have the SB- con� gured as a Remote and someone � nds it; you’d be surprised at how many people are tempted to push the buttons. Push the ON/OFF and SEL but-tons together again to unlock the � ash.MODE and SEL = Underexposure • Amount. Sometimes a� er you take a shot, the READY light on the � ash will blink for three seconds, which indicates it � red at maximum output. What this really means is that it needed more power but ran out of energy before the shot was properly exposed. If you missed the display, press MODE and SEL together and the � ash will show the underexposed amount from the last shot. You can then increase your ISO, walk closer to the subject, zoom the � ash head, or open up the aperture to get the proper exposure.MODE and ON/OFF = Reset. If you ever • set up your � ash and can’t � gure out how to get the system back to its defaults, press these two buttons together for a system reset. � is will return all of your custom settings to the factory defaults.


Getting into and out of the SB- Custom Settings Menus (CSM) is the secret to being pro� cient with the � ash system. Most of the neat stu� you can do with the � ash is accom-plished by selecting from CSM. You need to know what the menus mean as well as how to set them up properly.

To access CSM, press the SEL button for two seconds. To exit from CSM, press the SEL button again for two seconds or press the ON/OFF button. Figure . shows this as a graphic.

Once you access CSM, the screen changes to a x grid of square boxes (� gure .). Each box represents an individual menu item. To access a speci� c item, press the +, -, and zoom buttons (tree-shaped icons) until the box you want turns black.

To access the blackened CSM item, press the SEL button. � is moves the cursor to the right-hand side of the screen. Next, press the + or - button to move the cursor over your choice. � en press the SEL button to activate your choice. Finally, press the ON/OFF button to exit CSM.

Here is the same sequence in a list:. Press SEL for two seconds. Press +, –, or zoom buttons to choose

menu item. Press SEL button to activate menu item. Press + or – buttons to make choice. Press SEL button to activate choice. Press ON/OFF button to exit CSM

Figure . - Getting into and out of the SB- Custom Settings Menus (CSM) is very easy

Figure . - In CSM, each menu item has its own box. There are boxes total.


55

� ere are quite a few choices in CSM, and most people don’t push the - button enough times to notice the boxes down below. You should have CSM boxes, but not all of them will have something inside. Some boxes are only available when you con� gure � ash a certain way. For example, the Standby

(STBY) custom setting is not accessible when the � ash is con� gured as a Remote. You wouldn’t want the � ash to go into Standby just as you were taking a Pulitzer Prize-winning photo of your Irish setter!

Now that you can access CSM, let’s cover what each menu item does and how to use it.

SB- Custom Settings Menus (CSM) Summary

Screen Symbol Title and Description

ISO Use this setting when mounting your � ash on an older camera like the FM, FA, N, or FM. Nikon calls these cameras Group III to Group VII cameras. � ese camera bodies can’t speak to the � ash, so set the ISO manually. � e range of ISOs you can set is between and , in / step increments.

When you use the SB- on a newer SLR, the camera communicates the ISO directly to the � ash, so there is no need to enter the ISO data manually.

Wireless Flash Mode Use this menu to set up the SB- in wireless � ash mode. Speci� c con� gurations and set-up directions appear later in this chapter.

OFF: Returns � ash to normal operation MASTER: Turns the � ash into a Master (Commander) unit MASTER (RPT): Turns the � ash into a Master (Commander) repeating unit REMOTE: Turns the � ash into a Remote (Slave) unit SU-4: Turns the � ash into an SU- type wireless unit

Sound Monitor Turn this setting on or o� to activate or cancel the beeps when the � ash is used as a Remote. I generally like to keep the beeps on so I can hear if every thing worked properly. � e proper sequence is “Beep Beep …. Beeeeeep”.

ON: Beep On OFF: Beep O�

Non-TTL Auto Flash Mode Choose either A or AA when setting up your � ash in Auto Flash mode. See previous section on Auto Flash for instructions on how to use these � ash modes. A: Auto Flash (non-TTL Auto) AA: Auto Aperture mode

Table . SB- CSM descriptions


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Standby Function (STBY) � is setting determines how the � ash goes into STBY mode. I typically leave my � ash set to AUTO because it saves battery power by turning o� whenever the camera is inactive. To get the � ash out of STBY mode, press the camera’s shutter release button or the � ash’s ON/OFF button.

AUTO: SB- turns o� when camera’s exposure meter turns o� 40: -second delay until STBY 80: -second delay until STBY 160: -second delay until STBY 300: -second delay until STBY - - - : Cancels STBY function

m/� Distance Unit of Measure � e setting allows you to choose the unit of measure you see on the LCD panel: meters or feet.

m: Meters � : Feet

Power Zoom Function � is setting activates or cancels the � ash’s automatic power zoom function. Normally, you want the � ash head to zoom as you zoom the lens so the angle of view (lens) is matched by the angle of coverage (� ash). For example, if you zoom your lens to mm, you would typically want the � ash zoomed to the same value.

Nikon’s terminology here is confusing, so let me explain it better: OFF: Automatic zoom will work ON: Automatic zoom won’t work

When you choose ON, the symbol on the LCD panel during normal operation has an “x” next to it (see photo on le� ). � at “x” means you have deactivated the automatic zoom.

Deactivate the automatic zoom when you place any di� usion device over the � ash head (like a Gary Fong Light Sphere or Lumiquest so� box) or when you want to bounce the � ash o� a wall or ceiling.

Table . SB- CSM descriptions (continued)


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Broken Wide Angle Adapter If you ever break o� the built-in Wide Angle Adapter, then you can use this setting to allow the � ash head to zoom. Normally, when the Wide Angle Adapter is deployed, the � ash sets the head at mm and then stops zooming. If you break o� the adapter (which happens more o� en than you might guess), go here and turn the setting to ON. � en you can manually zoom the � ash by pressing the zoom buttons. Note that the ON setting does not activate the automatic zoom if you’ve broken the adapter. Bummer.

ON: Manual setting activated (you can zoom � ash manually) OFF: Manual setting canceled (you can’t zoom � ash at all)

LCD Panel Illuminator � is setting turns o� the LCD backlight function. Normally, when you press any button on the � ash, the backlight comes on. I consider this to be a good thing and keep it on all the time. Maybe you would turn it o� to keep from attracting moths to your � ash at night.

ON: Allows backlight to turn on OFF: Prevents backlight from turning on

LCD Panel Brightness � is setting allows you to change the brightness and contrast of the LCD panel. Adjust the brightness by pressing the zoom buttons (tree-shaped icons) on the � ash. You have nine brightness steps to choose from. I keep it at the default setting which is halfway (shown at le� ).

Wide Area AF Assist Setting � is setting activates or cancels the Wide Area AF Assist Illuminator on the � ash. I like to keep mine active so when I photograph in dark places like dungeons and caves I can still use the autofocus system (it also works really well for wedding receptions and nighttime outdoor photography). Turn it o� if you don’t want the � ash to send out the autofocus assist pattern.

When the setting is turned on, AF-ILL appears on the LCD panel. � is means AF Illumination is active and will turn on in a dark room. When the setting is turned o� , NO AF-ILL appears on the LCD panel. � is means AF Illumination is canceled for all situations.

ON: Activated OFF: Canceled



55Using the SB-800 as a Dedicated Flash


TTL BL• TTL• Manual• Auto• Auto Aperture• Guide Number• RPT• A fully Dedicated � ash means that all of

the � ash’s capabilities can be used by the camera body. Also, the � ash and the camera body communicate back and forth to relay information such as zoom settings, aperture, shutter speed, and power (� gure .).

� e SB- also functions as a fully Dedicated � ash when it is attached via a TTL remote cord such as the SC-, SC-,



Canceling Flash Firing Lots of people wonder why you would want to use this setting because it stops the � ash from � ring when you take a picture. Normally, if you turn the � ash on, you want the � ash to � re. � ere are times, though, when you want to use the � ash’s Wide Area AF Assist lamp to help the lens focus, but you don’t want to pop the � ash. For example, if you are composing a photograph by a window and don’t want to add � ll-� ash, turn this custom setting to OFF. � at will allow you to focus accurately by using the AF Assist pattern but won’t � re the � ash during the exposure.

ON: Flash � res normallyOFF: Flash is canceled during the exposure

Note: Some Nikons like the D, D, D, D, and DX have a programmable button on the camera body called the FUNC button. You can program this button to cancel the � ash when you press it. See chapter for details.



Dedicated Flash

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or SC- (� gure .). � ese cables provide full TTL operation just as if the � ash were mounted on top of the camera.

In general shooting scenarios where you want to operate quickly, I suggest setting the � ash mode to TTL BL. Table . shows some general settings for the camera and � ash in various scenarios.


Shooting Camera Flash Flash Scenario Sync Mode Mode Power Comments

Outdoor Slow + Rear TTL BL -. Goal is to use subtle � ll � ash

& Travel balanced with ambient light

Window Slow + Rear TTL BL -. Goal is to use subtle � ll � ash

Portraits balanced with ambient light

Formal Studio Normal TTL BL or Variable Goal is for � ash to provide

Lighting (umbrellas, (Front Manual of light, with no

re� ectors, etc.) Curtain) ambient light to speak of


Reception (Front or AA change as of light. Mount � ash on

in Dark Room Curtain) necessary) bracket and use di� usion dome.

Table .

Figure . - The SB- also functions as a Dedi-cated fl ash when connected via a TTL cord like the SC-, SC-, or SC-

Figure . - REMOTE screen on the SB-. This fl ash is set up to be a Remote for Channel , Group B. In order for it to fi re, the Commander unit needs to send out information on Channel , Group B as well.


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� e SB- works exceedingly well as a Re-mote � ash unit (� gure .). In this scenario, you need some type of Commander � ash to send instructions to the Remote SB-. � e Commander can be another SB- (see the next section for how to set this up), an SB-, an SU-, or the pop-up � ash from a D, D, D, D, D, or D. See chapter for a quick guide to con� guring your SLR as a Commander unit. Chapter shows how to set up the SB- as a Com-mander, and chapter shows how to set up the SU- as a Commander.

Setting up the SB- as a Remote � ash requires you to go into the Custom Settings Menus and set the Wireless Remote mode to REMOTE.

Here are the steps to con� gure the SB- as a Remote: . Turn on � ash. Press SEL button for two seconds. Press zoom buttons along with + and -

buttons to navigate to the squiggly arrow box

. Press SEL button. Press - button to navigate to REMOTE. Press SEL button. Press ON/OFF button. Press SEL button to navigate to Channel. Press + or - button to change Channel. Press SEL button to navigate to Group. Press + or - button to change Group. Make sure Commander � ash is set to

same Channel and Group. Take picture

A number of things must be set up prop-erly between the Commander unit and the Remote unit. For example, both the Commander and Remote need to be set to the same Channel (e.g., CH ) and Group (e.g., Group C).

Once you con� gure the � ash as a Remote unit, it takes all of its � ring instructions from the Commander unit. � ese instructions are broadcast via light pulses which the Remote receives through the Light Sensor on the side of the � ash (� gure .).

Make sure you point this sensor towards the Commander � ash. It is pretty sensitive, but there are times when communication fails because it literally can’t see the light.

When people � rst learn this system, one of the most common problems is forgetting to turn on the Commander � ash unit. I know it sounds obvious, but to � rst-time users, it is not intuitive. Remember, the Commander unit might be another SB-, an SB-, an SU-, or a pop-up � ash on your camera.

Note: If the Commander is a pop-up � ash, be sure to pop it up!

Figure . - The Light Sensor for Wireless TTL fl ash control is located beside the battery chamber. Point this sensor towards the Commander fl ash.

Using the SB- as a Commander Unit

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Using the SB-800 as a Commander Unit

� e SB- can be con� gured as a Com-mander � ash to control a host of Remote � ashes (� gure .). I get very consistent re-sults when using the SB- as a Commander as opposed to using a pop-up � ash as a Com-mander. One reason is that the SB- packs a lot of punch, and its light pulses can be seen far and wide. In contrast, the camera’s pop-up � ash has a relatively small amount of power.

I typically see a - failure rate when I use the pop-up � ash as a Commander, but I hardly ever get failed � ash photos when I use the SB- as a Commander. � is isn’t because pop-up � ashes are “bad”; the SB- simply has much more broadcast power. By the way, the SB- and the SU- are also very good Commander units with lots of broadcast power.

Setting up the SB- as a Commander is a fairly straightforward process once you get the hang of it (� gure .). Unfortunately, Nikon hides the settings behind a few menus,

so you need to access them from the Custom Settings group. Here are the steps:. Turn on � ash. Press SEL button for two seconds. Press the zoom buttons along with the

+ and - buttons until you navigate to the squiggly arrow box

. Press SEL button. Press - button until you navigate to MAS-

TER. Press SEL button. Press ON/OFF button. Press SEL button to navigate to Master,

Group A, Group B, Group C, and CH set-tings

. Press + and - buttons to change power. Press MODE button to change Group

� ash mode. Make sure Remote � ashes are set to same

Channel and Group. Take picture

Let’s talk more about each of these settings on the back of the � ash (� gure .).

Figure . - In this lighting setup, the SB- is confi gured as a Commander to control three groups of fl ashes. Group A is on the left, Group B is on the right, and Group C is behind the subject.

Figure . - SB- Commander Mode screen. The Group icons are on the left (M, A, B, C). Mode is the second column (TTL, M, AA, - -). Output is the third column (., +., +., /). Channel is on the right (CH ).


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Group� e le� column of letters on the � ash’s LCD represents the di� erent Group designations. You can’t change the letters themselves, but it is helpful to know what they stand for:

M• = Master Flash SettingsA• = Group A SettingsB• = Group B SettingsC• = Group C SettingsEach Group can consist of one � ash or

multiple � ashes. � e Master � ash (M) is the � ash positioned on top of the camera—in this case, the SB-.

ModeEach Group can operate in a di� erent � ash mode. For example, the � ashes in Group A can operate as TTL � ashes while those in Group B can operate as Manual � ashes. Pressing the MODE button changes the � ash mode for a particular group. Here is what each designation means:

TTL = � rough � e Lens mode.• � is mode behaves just like the normal TTL mode described earlier. I use this mode for � ashes that are set up in front of the subject. AA = Auto Aperture mode. • � is mode behaves like normal AA in that it uses the � ash’s sensor to judge � ash output. If you set up a � ash group as AA, then all the � ashes must be capable of being AA � ashes. In other words, you can’t have SB- Remote � ashes in a Group set for AA. Also, make sure the SB- or SB- Remote � ashes have their light sensors pointed at the subject. � at’s the only way the system can properly judge exposure. M = Manual mode. • � is mode sets up the � ashes as full Manual strobes. � e Com-mander SB- sends out instructions to each � ash in the group and tells them all what power level to shoot at. For example, all of the � ashes in Group A will � re at / power if you set the Group value to /.

- - - = O� mode.• You can turn o� Groups from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire group for the photograph. Some-times this is useful when you want to see each � ash group’s individual impact. Note that if you turn o� the Group M (Mas-ter � ash), it won’t � re during the actual exposure. � is can be confusing because the Master � ash still sends out pre-� ashes when you push the shutter release, even though the unit itself doesn’t � re.

Output� e neat thing about using the Nikon wire-less system is the ability to change � ash out-put from the back of the Commander unit. � is means you don’t have to walk over to each Remote � ash unit to change the power. How cool is that?!

To change the � ash power for a speci� c Channel, press the + and – buttons when that Channel is selected. In TTL mode, the read-out is in terms of stops. For example, +. means one-and-a-third stops brighter than .. In Manual mode, the readout is in terms of fractions. For example, / means one-sixty-fourth power.

ChannelNikon’s wireless system allows you to choose from Channels , , , and (� gure .). � is is helpful when two or more photogra-phers in the same vicinity want to use Nikon CLS wireless � ashes. Here are a couple of

Figure . - There are four channels to choose from: , , , and . This fl ash is set up for CH .


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situations where it makes sense to use di� er-ent Channels:. At a press conference where there are mul-

tiple Nikon shooters and each one has a wireless setup. Before the event, meet with the other photographers to determine who will be on what channel.

. At a high school dance with your photo as-sistant. You take formal photographs along a wall with a wireless studio setup on Chan-nel . Your assistant takes informal pho-tographs on the dance � oor on Channel with lights set up at each corner to provide ample coverage.

You may be wondering whether any other manufacturer’s � ashes will set o� the Nikon wireless system. � e answer is no, for the most part. For example, if you are at a wedding and Aunt Matilda takes a photo with her Olympus point-and-shoot, it won’t a� ect your wireless setup. � ere are some manufacturers such as Metz and Radio Popper who design their equipment to inter-face with the Nikon wireless � ash system.

Other SB- Commander FunctionsModeling LightIf you want to preview your lighting setup, you can use the SB- to activate each light in your system by pressing the Modeling Light button on the back of the � ash. More speci� cally, you can activate each Group together by selecting that Group and then pressing the Modeling Light button. Here are the speci� c steps:. Set up SB- as a Commander � ash. Press SEL button until Group A is high-

lighted. Press Modeling Light button

You can continue through this process to activate the Modeling Lights of each Group by simply highlighting Group B and then Group C.

Also, if you have a D, D, D, D, or D (� gure .), you can activate all the � ashes together by pressing the Depth of Field (DOF) Preview button on the camera body (see chapter for more information).

Figure . - The Modeling Light is a great feature in wireless Commander mode because you can ac-tivate each of the Remote fl ash’s Modeling Lights while standing behind your camera. In this image, the Modeling Lights on the Group C fl ashes will fi re when the Modeling Light button is pressed.

Figure . - Pressing the Depth of Field (DOF) Pre-view button on your D, D, D, D, or D will activate all the Modeling Lights in your entire wireless system


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Flash ButtonSometimes it is bene� cial to see if each of the Remote � ashes is “listening” before you trip the shutter. You can use the SB- to ping all of the Remote � ashes by simply press-ing the FLASH button (� gure .). When you do this, each Channel will ping back in sequence. If a Remote � ash is tuned to the wrong Channel, it won’t ping in response to the Commander � ash. By the way, the ping I’m referring to is a single pulse of light.

Here are the steps to do this:. Set up SB- as a Commander � ash. Set up Remote � ashes for correct Channel

and Groups. Press FLASH button. Watch the remote � ashes ping back

Using the SB-800 as a RepeatCommander Unit

� is mode is di� erent from the standard SB- Commander mode. Use this mode when the regular Repeat (RPT) mode on the � ash doesn’t have enough power to illuminate the scene by itself. In this scenario, you can con-� gure the SB- as a Repeat Commander unit (� gure .) and instruct a bank of Re-mote � ashes to � re in sync.

Here is how to set up the SB- as a Repeat Commander unit:. Turn on � ash. Press SEL button for two seconds. Press the zoom buttons along with the

+ and - buttons until you navigate to the squiggly arrow box

. Press SEL button. Press - button until you navigate to MAS-

TER (RPT). Press SEL button. Press ON/OFF button. Press SEL button to navigate to Master,

Group A, Group B, Group C, Power, Fre-quency, Qty, and CH settings

. Press + and - buttons to change values. Press MODE button to change Group

� ash mode. Make sure Remote � ashes are set to same


Figure . - Pushing the FLASH button in Com-mander mode will ping all of the Remote fl ashes. Each fl ash in Group A, B, and C will ping back in sequence if set to the correct Channel and Group. This is a great way to check your system setup be-fore actually taking photos.

Figure . - Access the Master REPEAT mode from the Wireless CSM (Custom Settings Menus)

Commander Unit

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To navigate around this new screen, press the SEL button to skip from setting to setting.

Let’s talk about each of the settings shown in � gure ..

Group� e letters M, A, B, and C on the � ash’s LCD represent the di� erent Group designations. You can’t change the letters themselves, but it is helpful to know what they stand for:


multiple � ashes. � e Master � ash (M) is the � ash that is positioned on top of the camera—in this case, the SB-.

ModeEach Group can operate in one of two � ash modes: RPT or - - -. For example, Group A can operate as RPT while Group B is turned o� (- - -). Pressing the MODE button changes the � ash mode for the Group. Here is what each designation means:

RPT = Repeat Flash mode.• � is activates the group as a Repeat � ash.- - - = O� mode. • You can turn o� Groups from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire Group for the photograph. Some-times this is useful when you want to see each � ash Group’s individual impact. Note that if you turn o� the M group (Master � ash), it won’t � re during the actual ex-posure. � is can be confusing because the Master � ash still sends out pre-� ashes when you push the shutter release, even though the unit itself doesn’t � re.

OutputJust like in a normal wireless setup, you can change � ash output from the back of the Commander unit. � is means you don’t have to go over to each Remote � ash unit to change the power. To change the � ash power, press the + and - buttons. In this mode, the readout is in terms of fractions. For example, / means one sixty-fourth power.

Frequency� is is how many pulses per second the � ash will � re. For example, Hz means the � ash � res � ve times per second.

Quantity of Pulses� is is how many times the � ash � res until it stops. For example, a value of means the � ash � res times and then stops � ring.

Figure . - This is the main control screen for Repeat Commander mode. Push the SEL button to jump from setting to setting. M = Master Flash A = Channel A B = Channel B. C = Channel C RPT = Flash will Repeat - - - = Flash is off ./ = Output for each pulse = total pulses Hz = pulses per second CH = Channel


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ChannelYou still have four Channels to choose from in Wireless Repeat mode: Channels , , , and . Generally, you work alone in a studio when us-ing Repeat Commander mode, so there is less need for all four Channels than when photo-graphing in a group of other photographers.

When it comes time to take the photo-graph, set the camera’s exposure mode to Manual. You then need to � gure out the shut-ter speed and aperture. Here’s how:

Calculating Shutter Speed: Divide the • Quantity of � ashes by the Frequency. For example, if the � ash � res a total of times and the Frequency is � ve � ashes per second, then the duration of the sequence is two seconds ( � ashes divided by � ve � ashes per second is two seconds). Anoth-er example: if your � ash � res at two � ashes per second and you � re a total of times, then the duration of the sequence is seconds ( � ashes divided by two � ashes per second is seconds). You then set that value as the shutter speed.Figuring Out Aperture: � e smaller the • aperture you use, the closer you must be to your subject. For example, f/ might require you to be two feet away, whereas f/ would allow you to be eight feet away. Keep adjusting the aperture on the camera body until you are happy with the working distance between the � ash and the subject.

Using the SB-800 as an SU-4 Unit (Commander or Remote)

A few years ago, Nikon introduced a simple system aimed at allowing wireless TTL � ash control. � is system was introduced in the era of the Ns and the F � lm cameras and was actually pretty ingenious. It required the use of an SU- unit (� gure .) attached to a normal TTL � ash such as an SB- or SB-.

If you have older � ashes and SU- units lying around, you might like to use them in a wireless setup. As you know, though, they will not work with the Nikon CLS wireless setup. Fortunately, Nikon installed a func-tion in the SB- that allows it to operate like older TTL � ash systems that didn’t have pre-� ash technology.

When you set up the SB- in this mode (� gure .), the � ash emits only one pulse of light (rather than the two you would normally get with the iTTL pre-� ash). When the SB- stops putting out light, all of the SU- Remote � ashes also stop putting out light. Simple.

Figure . - The SU- unit, Nikon’s original wire-less remote module. The SB- still supports this unit and SU- fl ash mode via the Custom Settings Menus and the SB-’s built-in Light Sensor.

Some Other Tips

Make sure the ambient light is very low or even nonexistent so your subject is only ex-posed by the � ash. Also, try to make your backgrounds very dark in color. In other words, make your studio almost completely black. � e reason is that you typically want the entire scene to be lit up just by the � ash and not by any ambient light. Finally, position your subject far away from the background. � is will keep the � ash’s re� ected light from lighting up the background. Figure . - This is the Custom Settings Menu

screen to set up SU- mode on the SB-

Using the SB- as an SU- Unit (Commander or Remote)

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� is next part is a little bit confusing. � e SU- shown in � gure . operates in SU- � ash mode when mounted on another Nikon � ash like the SB-. Many times people refer to an SU- when they talk about the actual unit (� gure .). � ey also refer to SU- mode, which references the setting in the SB- � ash that simulates the operation of the SU- unit.

Figure . shows an SB- attached to an SU- Remote module. � is allows the � ash to listen to SU- instructions from the SB-. When the SB- is attached to an SU-, it needs to be set for Manual output (� gure .). Also, the switch on the SU- module needs to be set for Manual.

You can also use your older Nikon � ashes such as the SB-, SB-, etc. with the SU- Remote module (� gure .) as long as they receive instructions from the SB- that is set up in SU- mode.

Figure . - The SB- can be attached to an SU- and will work just fi ne as a Remote unit

Figure . - Note that when the SB- is mount-ed on an SU- unit, the fl ash must be set up in Manual mode

Figure . - Older fl ashes like the Nikon SB- work great in SU- mode. You can also use it with fl ashes from Metz, Vivitar, Canon, etc. if they are set up in Manual mode.


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Here’s how to set up SU- mode on the SB-:. Mount the SB- on your camera. Turn on the SB- and camera. Press SEL button for two seconds. Press the zoom buttons (tree-shaped

icons) along with the + and - buttons un-til you navigate to the squiggly arrow box

. Press SEL button. Press - button until you navigate to SU-. Press SEL button. Press ON/OFF button. Press MODE button to choose � ash mode. Press + and - buttons to change power. Press SEL button to navigate to di� erent

settings. Attach SU- to Remote � ash units

(e.g., SB-).Turn SU- switch to Auto or Manual. Take picture

Now that the Commander � ash is set up as an SU- unit, it behaves a bit di� erently than you are used to in most of the � ash modes. I say “most” because TTL BL and TTL operate exactly as before. In other words, the � ash works as a regular TTL BL � ash, not an SU- Commander unit. I wish Nikon had elimi-nated TTL and TTL BL from the choices once you select SU- to eliminate confusion. � e other modes, such as AA, GN, M, and RPT, are di� erent than before. Let’s review each � ash mode here to understand what is happening. Press the MODE button to toggle between each of these modes.

TTL BL (SU-)� is is the same as the standard TTL BL � ash (� gure .). When the Custom Settings Menu is set for SU- and the � ash mode is set for TTL BL, then the � ash will � re pre-� ashes and cause the SU- Remotes to � re prematurely. � is mode is not designed for use with SU- Remotes. Do not use TTL BL in SU-4 mode.

Figure . - When you have the fl ash confi gured as an SU- Commander, TTL BL mode behaves ex-actly as before. Do not do this.

Figure . - When you have the SB- fl ash con-fi gured as an SU- Commander, TTL mode behaves exactly as before. Do not do this.

Figure . - Here is the SB- Custom Settings Menu for SU- mode

Figure . - This is what the SB- screen looks like in SU- Manual mode. Notice that the squiggly arrow points to the left. That is Nikon secret code speak for “Commander” in SU- mode.


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TTL (SU-)� is is the same as the standard TTL � ash (� gure .). When the Customs Settings Menu is set for SU- and the � ash mode is set for TTL, then the � ash will � re pre-� ashes and cause the SU- Remotes to � re prema-turely. � is mode is not designed for use with SU- Remotes. Do not use TTL in SU-4 mode.

AA (SU-)AA SU- mode is shown in � gure .. Here, you can use the SU- Remote � ash’s own light sensor to judge � ash output. � is mode is not a TTL mode and relies heavily on the Remote � ash’s ability to judge exposure. � erefore, the Remote � ash needs to be ca-pable of Auto Flash operation by itself. For example, an SB- cannot be an SU- Re-mote AA � ash, but the SB- can be an SU- Remote � ash in AA mode if you have the SB- Commander con� gured for AA mode.

Make sure the Remote � ash’s Light Sensor is aimed squarely at the subject with noth-ing in the way. For example, if you place

the Remote � ash behind an umbrella in AA mode, the � ash will judge exposure o� the back of the umbrella!

When in AA mode, be sure the SU- Remotes are in the same mode. � is means they must be set up as Auto Flashes in SU- mode. Here’s how to do this on three � ash models:

SB-26: • Mount the SB- to the SU- con-troller. Set the SU- to AUTO. Set the SB- to A (Auto).SB-800: • Turn the SB- to SU- mode from the Custom Settings Menus. Press the MODE button until you see A (� gure .). Notice that the SB- does not re-quire mounting an additional SU- unit. � e SB- is its own SU- controller.SB-900: • Turn the SB- to SU- mode from the Custom Settings Menus. Ro-tate the power switch to Remote. Press the MODE button until you see A. Like the SB-, the SB- does not require mounting an additional SU- unit, since the SB- is its own SU- controller (� gue .).

Figure . - Here is SU- AA mode on the SB-. This mode works just great. Be sure to confi gure your Remote fl ash as an AA fl ash, too.

Figure . - This is what the SB- screen looks like in SU- AA mode as a Remote fl ash. It is not connected to the SU- control module because the SB- has its own built-in SU- controller. No-tice also that the squiggly arrow points to the right, which is Nikon secret code speak for “REMOTE” in SU- mode.


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GN (SU-)When you have the SB- mounted as an SU- Commander (� gure .), you can still use GN mode. � is mode only con� gures the SU- Commander as a GN � ash. � e SU- Remote � ashes operate as either M (Manual) or A (Auto) � ashes, depending on how you set them. For more information on GN usage, read the GN mode section earlier in this chapter.

M (SU-)M (Manual) mode is probably the most prac-tical of the SU- modes because it gives you the most control (� gure .). You also need some method to determine your exposures, so I recommend using a hand-held light meter when you set up your lighting arrangement.

� e � rst step in using SU- Manual mode is to set up your Commander SB- as an SU- unit as previously explained and mount it on your camera. Next, press the MODE button until it displays M (manual). Next, press the + and - buttons until you set the appropriate power.

Now, set up your Remote � ashes as SU- remotes:

Old Flash Models:• Mount the older � ash (e.g., SB- or other manufacturer’s � ash unit) to the SU- controller module (� g-ure .). Set the SU- to M (Manual). Set the � ash’s mode to M (manual). Press the + and - buttons on the � ash to adjust power output.SB-800:• Turn the SB- to SU- mode from the Custom Settings Menus. Press the MODE button until you see M. Note that the SB- does not require mount-ing an additional SU- unit. � e SB- is its own SU- control module. Press the + and - buttons to set the power output (� g-ure .).SB-900: • Turn the SB- to SU- mode from the Custom Settings Menus. Turn the power switch to Remote. Press the MODE button until you see M. � e SB- does not require mounting an addi-tional SU- unit since it is its own SU- controller. Change the power by pressing Custom Settings Button and then rotat-ing the control dial.SB-600: • Set the SB- for Manual mode. Press the MODE button until you see M. � e SB- requires that you mount an SU- unit to its base. Set the SU- to M (Manual). Press the + and - buttons on the � ash to set the power output.

Figure . - Set the switch on the SU- controller module to M when your fl ash system is in Manual mode

Figure . - Manual is the most practical method to use in SU- mode because you have full control over the lighting in your scene. This SB- is con-fi gured as an SU- Commander. You can tell be-cause the squiggly arrow is pointing to the left.

Figure . - When you confi gure the SB- as an SU- GN fl ash, only it works using the GN cal-culation. The Remote SU- fl ashes work as regular Manual or Auto fl ashes, depending on how you confi gure them.


55Figure . - The SB- is mounted on an SU- control module and will work well as an SU- Man-ual Remote fl ash unit. Just about any other fl ash you own will also work fi ne with the SU- control module.

Figure . - The SB- is mounted on an SU- control module and will also work well as an SU- Manual Remote fl ash unit

Figure . - The SB- does not need to be attached to anything to work as an SU- Remote fl ash unit. Just set up the CSM menu for SU-, then press the MODE button until the LCD screen shows M.


55

RPT (SU-)You can also set up an SU- system in RPT (Repeat) mode (� gure .). Setting up the Commander SB- works the same as described earlier in this chapter. Push the MODE button until you see RPT. Next, press the SEL button to toggle between Power, Fre-quency, and Total Pulses. Press the + and - buttons to change the values.

Set up the Remote � ashes as SU- Manual Remote strobes. Here’s how to do it for each model:

Old Flash Models:• Mount the older � ash (e.g., SB- or other manufacturer’s � ash unit) to the SU- controller. Set the SU- to M (Manual). Set the � ash’s mode to M (Manual). Press the + and - buttons on the � ash to adjust power output.SB-800: • Turn the SB- to SU- mode from the Custom Settings Menus. Press the MODE button until you see M. Notice that the SB- does not require mount-ing an additional SU- unit. � e SB- is its own SU- controller. Press the + and - buttons to set the power output (� gure .).SB-900: • Turn the SB- to SU- mode from the Custom Settings Menus. Turn the power switch to Remote. Press the MODE button until you see M. � e SB- does not require mounting an addi-tional SU- unit since it is its own SU- controller. Change the power by pressing Custom Settings Button and then rotat-ing the control dial.SB-600: • Turn the SB- to Manual mode. Press the MODE button until you see M. � e SB- does require mounting an SU- unit. Set the SU- to M (Manual). Press the + and - buttons on the � ash to set the power output (� gure .).

Figure . - SU- Repeat mode works exactly the same as standard Repeat mode. Make sure that each of the Remote fl ashes is set up in Manu-al SU- mode.

Figure . - The SB- works very well as a Re-mote SU- Repeat fl ash. Mount it on the SU- con-trol module and set it for M. This Remote fl ash will only fi re if the SB- mounted to your camera is confi gured as an SU- Commander unit.


55

Figure . - The SB- also works great as a Re-mote SU- Repeat fl ash. Mount it on the SU- con-trol module and set it for M.

Figure . - If you want to use the SB- as a Remote SU- Repeat fl ash, you don’t need to mount the SU- control module. Just confi gure the fl ash’s Custom Settings Menu to SU- mode, then press the fl ash’s MODE button until you see M on the LCD.


66



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� e SB- is Nikon’s newest and most advanced Speedlight. � e designers have worked very hard to improve upon the � ash’s interface, controls, and overall usability.

� e SB- is typically used in three ways: Dedicated � ash mounted directly to your • cameraCommander � ash to control other wire-• less remotesWireless Remote � ash•


Flash HeadTo point the � ash head in di� erent direc-tions, press the Tilt button (� gure .) with your � nger and rotate the head. � e � ash head on the SB- rotates degrees to each side ( degrees total) and degrees vertically. You need to press the button to begin movement, but you don’t need to keep pressing it to continue.

If you look closely at the back of the � ash head, you will notice it has angle scales on it. However, they are not really useful unless you are telling someone else how to set up your � ash (� gure .).

� e SB- also has a - degree position (� gure .) that is used for doing macro work when mounted on top of your camera. Pay close attention to this setting, because many functions of the � ash are not accessible when the head is at - degrees (e.g., GN).

Figure . - SB- fl ash head at - degrees, front position. This position is used for macro pho-tography.

Figure . - SB- Tilt button. Push this button to rotate or tilt the fl ash head. In this example, the fl ash head is at the horizon-tal front position.

Figure . - SB- fl ash head at degrees, front position


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Wide Angle AdapterIf you use a lens with an angle wider than mm, it makes good sense to pull out the Wide Angle Adapter (� gure .). Notice that when you deploy it, the � ash automatically zooms to mm (� gure .). � is means that the Wide Angle Adapter allows an angle of coverage the same as a mm lens. If you don’t deploy it in this situation, you run the risk of light fall-o� in the corners of the pho-tograph. However, the SB- has such a wide range of coverage that this is rarely an issue.

Bounce CardNikon includes a small built-in bounce card on the SB-. � e card automatically ex-tends when you pull out the Wide Angle Adapter (� gure .). � e purpose of the bounce card is to re� ect light forward to the subject while allowing some light to bounce o� the ceiling. Doing this hopefully creates a nice catch light in the subject’s eyes. It also serves to lighten up the dark shadows that frequently appear under the eyes.

In reality, this ." x " bounce card is too small to be very e� ective. A real bounce card should be at least " x " or larger (� gure .). Bigger is better when it comes to light di� u-sion, and bounce cards are no di� erent. Most photographers who use bounce cards end up taping or rubber-banding a larger card to the back of the SB-. � ese provide much better results!

Figure . - Wide Angle Adapter is deployed

Figure . - When the Wide Angle Adapter is out, the zoom setting automatically changes to mm as the default

Figure . - When using the bounce card, deploy the Wide Angle Adapter for best results. Also, point the fl ash head upwards at degrees.


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If you to want to use the built-in bounce card, set up the � ash head at about degrees. At this setting, some light will bounce o� the ceiling (assuming you are inside), and some light will re� ect o� the card towards the subject. I like to extend the Wide Angle Adapter when using the bounce card, but if you want, you can push it back into the � ash head (� gure .).

Figure . - This is a “real” bounce card that actually has some usable surface area. It is ” x ”. The big-ger your bounce card, the better your fl ash results! Attach it with Velcro® or gaff er tape.

Figure . - A good substitute for a bounce card is to use your hand instead. Your hand will add a nice warming eff ect to the light and produce excellent results. Try it, you’ll like it!


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Wide Area AF Assist Illuminator� e Wide Area AF Assist Illuminator is a fantastic feature that automatically activates in dark rooms to assist your camera’s autofo-cus sensors. � is feature normally overrides the camera body’s AF Assist Illuminator (found on cameras like the D, D, and D). � is pattern also activates when the � ash is used with a TTL extension cord such as the SC-, SC-, or SC- (� gvures . and .).

IMPORTANT!





Figure . - The Wide Area AF Assist pattern is gen-erated behind the red window in the front of the fl ash


66

Light Sensor for Auto Flash� e SB- has the special ability to work as an automatic � ash unit. What this means is that it can determine the appropriate expo-sure automatically by using its own built-in light sensor (� gure .), rather than by us-ing the camera’s TTL exposure system. More information on how this works appears later in this chapter.

External Power Source Terminal� e External Power Terminal is located on the front of the � ash behind the plastic Nikon insignia (� gure .). Pull o� the little plastic cap to access the terminal. If you use ac-cessory � ash power such as the Nikon SD-A, SD-, or an alternative product such as a Sun-pak, Quantum Turbo, or Al Jacob’s Black Box (see chapter ), plug the unit into this part of the � ash (� gure .).

NOTE

Note that this sensor is di� erent from the wireless TTL sensor shown in � gure .

Figure . - The Light Sensor for Auto Flash mode (A or AA)

Figure . - SB- External Power Source Terminal. Remove the plastic Nikon cap to access these pins.

Figure . - The Light Sensor Window for wireless TTL fl ash control is located beside the battery cham-ber. Point this sensor towards the Commander fl ash.


66

Light Sensor WindowWhen the SB- is con� gured as a Remote � ash, this is where all the communication takes place between it and the Commander � ash (� gure .). Be sure to point this win-dow towards the Commander � ash.

� e window works best when it is in the shade or in a dark room away from bright ambient light. I’ve had some problems making the system work in direct sun and assume the reason is that the Remote � ashes have a hard time distinguishing between � ash pulses and direct sun.

Many times I have an assistant hold the Remote � ash and aim it at the subject. In this scenario, make sure the assistant’s thumb does not cover the window. Unfortunately, Nikon placed it at the perfect location for a thumb grip (� gures . and .)!

Battery Chamber Lid� e Battery Chamber Lid is simple to oper-ate: just slide the cover down to the “un-locked” position and then open up the chamber (� gure .).

I � nd over time that the battery contacts can corrode, causing a poor connection between the batteries and the � ash. To reme-dy the problem, I clean them with a pencil eraser or lightly scrape them with a pocket knife. Also, the tabs deep inside the battery chamber can form light corrosion, so I clean those o� as well.

Figure . - Be sure not to cover the Light Sensor Window with your thumb

Figure . - This is the correct way to hand hold the fl ash without covering the Light Sensor Window

Figure . - SB- Battery Chamber Lid


66

Power SwitchOne of the neatest improvements on the SB- is that the Power Switch controls access to the three main modes on the � ash:

Dedicated � ash• Master (Commander) � ash• Remote � ash•

If you have used the SB- or SB- before, you know that you have to go into the Custom Settings Menus (CSM) to activate the Master or Remote � ash modes. Being able do this with a � ick of a switch makes all the di� erence in the world! It is faster, more e� cient, and you never have to wonder what mode the � ash is in; just look at the switch. Major kudos to Nikon for simplifying this process.

Make sure you turn the � ash o� before you attach or remove it from the camera body (� gure .). � is prevents any short circuits as well as preventing the � ash from � ring.

My only criticism of the Power Switch is that it is very small. When I wear gloves, I have a hard time � ipping the switch. In that case, my technique is to press the pad of my thumb onto the switch and then rotate my hand.

Selector Dial and OK ButtonAnother big improvement in the design of the SB- is the introduction of the Selec-tor Dial and OK button. Previous versions of Nikon � ashes relied on the +/- buttons to increase or decrease settings. Now, you ro-tate the dial le� or right to increase/decrease settings. Once you have dialed in the correct setting, you use the OK button to lock in your selection (� gure .).

For example, to make an EV (output) change in TTL BL mode, rotate the Selector Dial to your desired output and press the OK button to lock in the value. � e approach is simple and direct.

If you look carefully at the back of the � ash, you will see a small icon with the words OK/MENU. � e dot icon next to the word OK means that if you press the OK button quickly, the button will behave like an enter button. � e line icon next to the word MENU means that if you press and hold the button for two seconds, it will open up the Custom Settings Menus.

Figure . - The Power Switch on the SB- has four positions that easily allow you to select the fl ash mode

Figure . - Rotate the Selector Dial to choose your setting, then press the OK button to lock in that value


66

Function ButtonsYou can access most of the menu-driven fea-tures on the SB- by pressing one of three Function buttons (� gure .). For example, in TTL mode, press Function Button (the le� button) to activate the +/- EV setting. � en, to make changes to the EV setting, ro-tate the Selector Dial. To set the value, press the OK button.

Any time there is an icon above a Function button, press the button underneath it to access the setting. If you continue to press the same Function button, you will also change the setting. Using the same example as above, if you press Function Button to activate the

+/- EV setting, then you can keep tapping the button to change the value. If you stop press-ing the button, then the last value remains as your new setting.

� e Function buttons are generic and don’t always have the same purpose. If you are in Remote mode as shown in � gure ., Function Button activates the Group setting and Function Button activates the Channel setting. Each � ash mode applies di� erent settings for the Function buttons.

ZOOM ButtonAnother improved feature of the SB- is the increased zoom range provided by the � ash head. � e zoom range now goes from mm to mm! With the ability to zoom the � ash head, you are better able to evenly light up your scene with light from the � ash. As you zoom the lens to a wider angle, the � ash must illuminate a larger area. So, at the same time the lens zooms, the � ash head will also zoom.

On Nikon camera systems, the lens sends zoom information to the camera body, which then forwards it to the � ash. Say for example, you set your lens to mm; then your � ash will also zoom to mm to provide the same angle of coverage. � is is called Auto Zoom on the � ash. You can override the Auto Zoom function and zoom manually by pressing the ZOOM button, which will display on the � ash’s LCD as M ZOOM (� gure .).

Figure . - Use these three Function buttons to select diff erent menu items on the SB-’s LCD panel

Figure . - When you are in Remote mode, the Function buttons access diff erent settings such as Group (GR) and Channel (Ch)

Figure . - When you press the ZOOM button, you override the auto zoom function and go into M ZOOM mode


66

If you press the ZOOM button a number of times, it will toggle between di� erent settings like mm, mm, mm, etc. Another way to move between ZOOM settings is to press the ZOOM button one time and then rotate the Selector Dial.

� ere are three other details you need to know about here: . Let’s say you manually set the zoom value

on the � ash to mm, and the LCD shows M ZOOM. If you want the � ash to re-synchronize with the lens, turn the � ash o� and back on again.

. When you have the wide angle di� usion panel extended, the SB- only allows a zoom setting of mm.

. When you have a di� usion dome mounted on the SB- (� gure .), the � ash will default its zoom to mm. A micro switch on the bottom of the � ash head (� gure .) detects the di� usion dome and defaults the zoom to mm. � ere is no way to override this unless you cut away the plastic on the di� usion dome, but there’s no reason to do so. Just leave it at mm and be happy.

Diff usion Dome� is little piece of plastic is one of the great-est inventions ever made for � ash photogra-phy (� gures . and .). Its purpose is to di� use the light from the � ash and force it to spread all around the scene and subject. I use a di� usion dome whenever I photograph events and don’t have time to set up more elaborate lighting equipment. I also use it for macro photography, portraits, and just about everything else under the sun.

� e proper way to use a di� usion dome is to place it on the � ash and then point the � ash head upwards about degrees (� gures . and .). � is allows the dome to do its job by sending light all around the room. I frequently use it in conjunction with a � ash bracket (� gure .) to minimize the e� ect of the shadow.

Figure . - When you use a diff usion dome, the fl ash defaults to mm zoom

Figure . - The fl ash knows a diff usion dome is mounted because of the micro switches on the outside of the fl ash head (inside the red circles)

Figure . - Diff usion dome in use when the cam-era is horizontal. Point the fl ash head upwards at degrees for best results.


66

Remember, when a di� usion dome is placed on the SB-, it defeats the zoom function of the � ash. It does this by depress-ing a micro switch on the bottom of the � ash head (� gure .).

Some SB- owners wonder whether to use the Wide Angle Flash Adapter along with the di� usion dome. � e answer is no. � ere is no need to di� use behind the di� usion dome. � at’s straight from the Department of Redundancy Department.

� ere are plenty of other products that do a great job of di� using the � ash, such as Harbor Digital Design’s Ultimate Light Box (www.harbordigitaldesign.com) or Gary Fong’s products (www.garyfong.com).

Figure . - Diff usion dome in use when camera is vertical. Point the fl ash head upwards at de-grees for best results.

Figure . - Diff usion dome with Stroboframe Quick Flip fl ash bracket. A fl ash bracket is the best option for event photography.

Figure . - Wedding photo taken with diff usion dome and fl ash bracket. Notice the soft light and the shadow hidden behind the young girl. D, SB-, diff usion dome, Stroboframe bracket, SC- cable. Camera set up for Slow + Rear sync and fl ash set for TTL BL -..


66MODE ButtonWhen the SB- is set up as a regular Dedi-cated Speedlight (i.e., not a Remote � ash or a Commander � ash), the MODE button switch-es between seven � ash modes: TTL BL, TTL, A, AA, GN, M, and RPT (� gure .). When the � ash is not attached to the camera (or the camera is powered o� ), you can only choose from � ve modes: TTL, A, GN, M, and RPT.

TTL BL ModeTTL stands for “� rough � e Lens” metering and BL stands for “Balanced” � ll � ash (� gure .). Nikon refers to this mode as “Automat-ic Balanced Fill Flash”. Its goal is to balance the ambient light (background) with the sub-ject (foreground). I use TTL BL for the vast majority of my photography and � nd it to be reliable for fast shooting.

NOTE

In order to select between A and AA, you need to make a change in the Custom Settings Menus. Starting from the top le� : TTL BL, TTL, Auto Aperture, Auto Flash, Guide Num-ber, Manual, Repeat.

Figure . - The SB- has a total of seven modes when it is used as a regular Dedicated fl ash. To select these modes, press the MODE button on the back of the SB-.

Figure . - SB- in TTL BL mode


66

In TTL BL mode, the SB- puts out a pre-� ash that is re� ected back to the camera’s � ash metering system (the Matrix meter). � e camera then quickly calculates the correct amount of light for the scene. You can watch this pre-� ash sequence happen if you pay close attention to the � ash when it � res.

� e pre-� ash delay is fairly long on slower cameras like the Nikon D, but very short (almost imperceptible) on fast systems like the D or D.

Unfortunately, the pre-� ashes can cause people to close their eyes during the shot, which can be very frustrating for the photog-rapher. Sometimes the only way to get around this is to tell your subjects to try to keep their eyes open until the sequence is � nished. Obviously, this is easier said than done.

Another way to get around the pre-� ash is to turn your � ash to Manual mode; or, you can use a function called FV Lock. See chap-ter for more information on how to cure this problem with FV Lock.

TTL Mode� is mode is o� en called Standard TTL. Its purpose is to expose only for the subject and not for the background light. TTL mode goes back a long way in Nikon camera systems and is truly the legacy mode. It does a good job, but I have found that TTL BL seems more accurate and consistent (� gure .).



AA ModeAA stands for Auto Aperture. Notice that the symbol for this mode has a circle icon that looks like a lens aperture alongside the letter A (� gure .).

� is mode is typically used when you need more shot-to-shot consistency than TTL BL can provide. Unfortunately, TTL BL doesn’t always provide consistent exposures when you take a large number of shots of a variety of subjects. For example, at a wedding, TTL BL might slightly underexpose photographs that include the bride’s white dress while slightly overexposing photos that include black tuxedos.

� is variation from shot to shot can be very frustrating for a professional photogra-pher who plans to present wedding photos to a client in one showing. If you show a photo of the bride by itself, it would look OK; but if you show a number of photos side by side, the TTL BL variation quickly becomes apparent. � e reason is that TTL takes every

Figure . - SB- in TTL mode Figure . - SB- in AA mode


66

scene and modi� es the exposure based on its overall re� ectance (brightness).

AA mode takes the camera’s TTL meter out of the � ash calculation and instead uses the SB-’s built-in light sensor. Exposures using AA tend to have less brightness varia-tion from shot to shot, but they take a little more e� ort to pull o� .

� is mode uses lots of information to determine the � ash exposure, including:

Lens Aperture• Camera ISO• Exposure Compensation Setting• Lens Focal Length (zoom)•

Even though this mode tries to auto-mate the � ash exposure, it does not use the camera’s TTL Matrix Meter system. Hence the name Auto Aperture � ash. AA means that the � ash makes the exposure decision automatically.

You can use this setting in one of two ways:. Set the aperture and then work within a

general shooting distance range. � is al-lows the � ash’s sensor to take up the slack. Your shooting range is shown on the back of the � ash in either feet or meters (� gure .). For example, the � ash might state .- feet, which means it will operate well at any distance between those two values.

. From your known distance, adjust the aperture on the camera until the � ash is within range. Say, for example, you are feet from the bride and want to get a well-exposed image of her in AA mode. Adjust the aperture (on the camera) until the distance range on the back of the � ash in-cludes feet and take the picture. It will look something like the example below.

Figures . through . compare shots taken in AA and TTL BL modes. � e photos on the top row were taken with the � ash head pointed directly at the subject with no di� u-sion. � e photos on the bottom row were taken with the � ash head pointed at the ceil-ing to di� use the light. � e le� photos are AA mode, and the right photos are TTL BL mode.

In general, I � nd that AA mode tends to expose the subject about / to / of a stop brighter than TTL mode. � is isn’t necessar-ily a bad thing, just a reality of the system. Once you get a handle on the exposure, you can change the power by pressing the � ash’s + and - buttons until you are happy with it.

You can select from two AA � ash modes in the Custom Settings Menus. � e � rst is AA with monitor pre� ashes, and the second is AA without monitor pre� ashes. Using the pre� ashes almost always results in a slightly better exposure, since the � ash has the bene� t of knowing how re� ective the subject is. I recommend keeping the monitor pre� ashes active.

Figure . - SB- in AA mode. The fl ash displays an operating range (..- feet) which is the sub-ject-to-fl ash distance.

NOTE

In � gures . and ., both � ash modes did a nice job with the exposure when the � ash was bounced o� the ceiling.


66

Figure . - AA mode, direct fl ash Figure . - TTL BL mode, direct fl ash

Figure . - AA mode, bounced off ceiling Figure . - TTL BL mode, bounced off ceiling


66

A ModeA stands for Auto Flash. � is mode uses only the SB-’s built-in sensor to measure the light re� ected from the subject. � is is di� erent from AA mode where the camera communicates aperture, lens, ISO, and ex-posure compensation data to the lens. When the � ash’s sensor decides enough light is re-� ected back, it shuts down power to the � ash head and stops outputting light (� gure .).

� e neat thing about this mode is that the � ash works “automatically” on most of the cameras you own, including your older Nikon � lm cameras and even o� -brand cameras like the Pentax K. � ere is no back-and-forth communication between the � ash and the camera body, so you have to trust the � ash to do everything.

If your camera is a newer Nikon Digital SLR like the D, D, D, D, D, D, D, D, or D, you actually have to con� gure the � ash to operate in plain old A mode rather than AA mode. To do this, go to Custom Settings Menus and change the settings for A/AA (� gure .). Here are the steps:. Push and hold the OK key for two seconds. Rotate Selector Dial until the A box is

highlighted. Press OK button. Choose A by rotating Selector Dial. Press OK button. Press Function Button (EXIT)

In A mode, you generally set the camera’s exposure mode to Aperture Priority or Manual. � e next step is to change the F No value (f Stop) by rotating the Selector Dial until the aperture on the � ash equals the aperture on the camera body, or until the shooting distance on the back of the � ash matches the shooting distance of your subject. Now, take the picture. Simple, right?

Kind of. � ese instructions need to take more into account than just making the setting and pressing the shutter release button. Many photographers, like wedding and event photographers, also put their hand-held light meters into the equation for these shots. If your goal is to get more consis-tency than TTL BL will give you, it’s going to take some e� ort.

Figure . - SB- in A mode

Figure . - Change the A/AA custom setting if you want the fl ash to operate only in A mode rath-er than AA mode


66

Here is the process for e� ective (consis-tent) Auto Flash usage at an event:. Set � ash for A (Auto Flash) mode. Set ISO between and on your

camera. Set camera for Manual exposure. Set shutter speed to / second. Set aperture to f/ on your camera. Set aperture to f/ on your � ash. Place hand-held light meter � ve feet away

from � ash. Take a photograph of subject � ve feet

away and note hand-held meter aperture reading

. Repeat this process for subjects at feet, feet, and feet

. Write down the hand-held meter values for the � ash readings (e.g., feet = f/, feet = f/, etc.)

. � ese are the aperture settings for your event

. To take photos with these values at the event, mentally estimate how far away your subjects are and set the correspond-ing aperture into the camera body

For example, let’s say you want to photo-graph people at the local square dance on Saturday night and get great � ash photos using A mode on your � ash. I suggest you get there early and start testing using the steps outlined above. When you are done testing, you will have some information like this:

feet = f/• feet = f/• feet = f/.• feet = f/.•

When it comes time to snap a photograph of the square dancers at feet away, set f/. (f/.) on the camera and take the shot. Notice that the settings on your � ash haven’t changed from your initial values of f/ and ISO (or ).

Now it’s simple, right? Right. Go ahead, roll your eyes.

You can select two Auto Flash modes from the Custom Settings Menus. � e � rst is Non-TTL Aperture with monitor pre-� ashes, and the second is Non-TTL Aperture without monitor pre-� ashes. Using the pre-� ashes almost always results in a slightly better exposure since the � ash has the bene� t of knowing how re� ective the subject is. I recommend keeping the monitor pre-� ashes active.

GNGN stands for Guide Number. � is manual � ash mode utilizes the SB-’s published Guide Number to help you calculate a � ash photograph (� gure .). � is mode might actually be called a “distance priority” meth-od for determining � ash exposure. You ar-range your photograph so that you know the exact distance from the � ash to the subject, and then you program that number into your � ash. Figure . shows a value of feet (the big number in the screen). � is means if your subject is feet away from the � ash, the photograph will be properly exposed.

Here’s how it works:. Set the � ash mode to GN. Set the camera to Aperture Priority or

Manual mode. Measure the distance between the � ash

and the subject (e.g., feet). Set the aperture on your camera (e.g.,

f/.). Press Function Button to activate the

distance and then rotate the Selector Dial until the large distance number on the back matches the distance to the subject ( feet)

. Take the photograph

Note also that you can adjust the � ash output by changing the � ash compensation. To do this, press Function Button until +/- is highlighted. � en, rotate the Selector Dial to change � ash power (� gure .).


66

GN mode is pretty picky and requires a number of items to be con� gured properly on your � ash. Most important, the � ash head needs to be set at the horizontal (front) position. However, there are many other reasons why this mode may not work properly. Some of them are:. Flash head is pointed down at the - de-

gree setting. Flash head is pointed up at an angle. Camera is turned o� (hey, it happens!)

Finally, the SB- � ash will work in GN mode if your wide angle di� usion panel is deployed or your di� usion dome is mounted.

M ModeIn Manual � ash mode (� gure .), you are responsible for determining � ash output. Change � ash output by pressing Function Button and then rotating the Selector Dial to the output you desire. To determine the correct setting, you basically have three choices:

Trial and error• Guide Number calculation• Hand-held light meter• � e � rst method of determining � ash

power is trial and error. Simply take a picture and review the results on your camera’s histogram screen. If it looks too bright, then dial the � ash power down. If it looks too dark, increase the power.

� e second method is to use a Guide Number calculation, which is contingent on knowing the � ash’s Guide Number. Although the SB- has a published Guide Number of , it gets more complicated when you zoom the � ash head. For example, if you zoom the � ash head to mm, then the Guide Number is . If you zoom the � ash head to mm, then the Guide Number is . Table . gives more detail on � guring out what the Guide Number is depending on zoom and � ash power settings.

Figure . - SB- in GN mode. The big number shows how far away your subject should be for a proper exposure.

Figure . - Change the fl ash compensation by pressing Function Button until +/- is highlighted. Then rotate the Selector Dial.

Figure . - SB- in Manual mode. Here, the fl ash is set up to put out / power, plus . (one third) of a stop.


66Once you know what the Guide Number

is, you can run a calculation based on the Guide Number formula to set the aperture for your camera.


� e preceding formula doesn’t mean much to most people, but we can change it around to solve that problem. � e formula now looks like this:

Let’s assume you know your subject is feet away and your Guide Number is . According to this calculation, set your lens aperture to f/. and take the photograph. Easy!

But honestly, that is the old way to calcu-late � ash power. � ese days, TTL systems do all of this for us except when we’re in Manual

mode where there is no automated � ash calculation.

� e third and most accurate method for setting � ash power in Manual mode is to use a hand-held light meter. You basically place the meter in front of your subject, � re the � ash, read the light meter values, and set them into your camera (e.g., f/ @ at / second).

Here is the process for using a hand-held light meter:. Set the � ash power to a speci� c value, such

as ¼ power. Set your camera and � ash meter to the

same ISO value. Place the meter in front of your subject

with the dome pointed towards the cam-era

. Fire the � ash in Manual mode. Read the light meter values, such as shut-


at / second)


Flash Output Flash Head Zoom Position for DX Format (mm)Level 17 24 35 50 85 120 135 200

/

/

/

/

/

/

/

/

Table .


66

� is is the best way to calculate � ash exposure and is really the most accurate method you can use. It is how many professional photography studios set up � ash exposures.

You may ask, “Well, if this way is so good, then why does Nikon create all those other � ash modes?” � e answer is because the light meter method is slow and takes patience. It is impossible to capture candid shots if you always have to stop and take a � ash meter reading. Nikon keeps innovating new and exciting � ash modes like TTL BL to help us capture serendipitous scenes that would otherwise be lost.

RPT Mode� is mode is a lot of fun. RPT stands for Repeating Flash Mode, which is used when you want the � ash to � re repeatedly during a single exposure. Say you want to take a pho-tograph of a bouncing ping-pong ball (� gure .). You can use RPT mode to put out mul-tiple pulses of light while the ball bounces through the scene.

� ere are myriads of other applications for this technique—for example, a dancer going through her routine, a mountain biker jump-

ing o� a log, a bird � ying by, or a baseball player throwing a pitch (� gure .).

Here is the process:. Set � ash mode to RPT. Push Function Button to select M

(power output). Rotate Selector Dial to adjust power output. Push Function Button to highlight

Times (quantity of pulses). Rotate Selector Dial to adjust Times. Push Function Button to highlight Hz

(frequency of pulses). Rotate Selector Dial to adjust Hz. Set camera to Manual exposure. Calculate shutter speed (Shutter Speed =

Times/Hz). Set Aperture on the camera body until

you get a usable working distance

Here is more detail on each step:Power Output (M): � is is set in fractions • of full power (/). Frequency (Hz): � is is how many � ashes • � re per second. For example, Hz means the � ash � res � ve times per second.Times: � is is how many times the � ash • � res until it stops. For example, a value of means the � ash will � re times and then stop.

Figure . - SB- in RPT mode. This screen shows that the fl ash is set at / power and will fi re times at fl ashes per second.

Figure . - This photo of a bouncing ping-pong ball was taken in RPT mode. The settings for this shot were / power, pulses, Hz.


66

Calculating Shutter Speed: To calculate • shutter speed, divide Quantity by Fre-quency. For example, if the � ash � res a total of times and the frequency is � ve � ashes per second, then the duration of the sequence is two seconds ( � ashes di-vided by � ve � ashes per second is two sec-onds). Another example: if the � ash � res times and the frequency is two � ashes per second, then the duration of the se-quence is seconds ( � ashes divided by two � ashes per second is seconds). You then set that value as the shutter speed into your camera.Figuring Out Aperture: Look at the back • of the � ash, and you will see a distance value such as . feet (� gure .). � is means the subject needs to be exactly . feet away in order to be properly exposed. � e smaller the aperture, the closer you must be to the subject. For example, f/ might require you to be two feet away (kinda close!) whereas f/ would allow you to be eight feet away. Keep adjusting the aperture on the camera body until you are happy with the working distance between � ash and subject. You can also increase the ISO to get some additional working distance.

When it comes time to � nally take the photograph, make sure the ambient light is very low or nonexistent. Also, try to make the background very dark—in other words, make your studio almost completely black. You typically want the entire scene to be lit only by the � ash. Finally, position your subject a long way from the background. � is will keep the � ash’s re� ected light from light-ing up the background (� gure .).

OK, that’s it for the � ash modes on the SB-. Let’s continue on with the buttons and controls.

Test Firing Button� is button has a number of functions and can be programmed in a couple of di� erent ways. Let’s start with the default settings and then cover how to customize the button.

First of all, the button has a red light that indicates when the � ash is ready to � re. When the READY light is on, it means that the � ash’s capacitor is fully charged and ready to take the next picture (� gure .).

A� er you take a photo, the READY light turns o� while the � ash recharges its capaci-tor. Once the capacitor is recharged, the READY light turns on again. � e READY light also coincides directly with the beep of the � ash in wireless mode.

Figure . - This image represents each pulse of the fl ash, starting from pulse and ending at pulse . The ball was bouncing from right to left. The settings for this image were: Power: /. Fre-quency: Hz. Total Pulses: . Shutter Speed: two seconds. Aperture: f/. Background: black sheet.



66

When you are waiting between photos, the � ash will periodically go into Standby mode. At that point, the READY light turns o� until you wake up the � ash by pressing it again or by pressing the camera’s shutter release button (� gure .).

Because the � ash does not have a battery level indicator, the READY light is the only way to really tell how much power remains in your batteries. Speci� cally, the longer it takes for the READY light to illuminate, the lower your battery life. If you � nd that it takes four to � ve seconds a� er each shot to recharge the � ash, then it is probably time to change your batteries.

Finally, the READY light blinks rapidly if you take a photograph and the � ash does not have enough power to light the scene. In this situation, the � ash indicates under-exposure by a minus sign in the upper right corner of the LCD. � e rapid blinking is your cue to check out the underexposed value and change aperture, ISO, distance, or zoom in order to take the shot (� gures . and .).

� e second purpose of the Test Firing button is to activate the � ash to make sure it is operating properly. In TTL BL or TTL mode, it serves no purpose other than to


Figure . - This picture was underexposed by two stops. You can see the readout on the upper right corner of the LCD.

Figure . - To recall the underexposed value of the last photo, press Function Button


66

con� rm that the � ash is on and working properly. You can program the custom func-tions of the � ash to make it output /, /, or / power when you press the Test Firing button (� gure .).

� e third use of this button is when the � ash is set for Manual mode. In this case, the � ash will put out exactly the amount of power you set for � ash output. If you use a hand-held � ash meter in a traditional studio environment, this will allow you to take a meter reading without tripping the shutter on your camera to � re the � ash.

� e fourth use of this button is to trigger the Modeling Light. To set up the Test Flash button as a Modeling Light button, navigate to the Custom Settings Menus and change the button to MODELING (instructions for doing this appear later in this chapter). � is setting allows you to see where the shadows will fall before you take the photo. To acti-vate the Modeling Light, press the Test Flash button (� gure .), and the � ash will turn into a Modeling Light.

I use the Modeling Light whenever I am worried about a shadow behind the subject. If I � nd a shadow, then I move the subject or myself until there is no longer a shadow. In addition, I might press the Modeling Light when bouncing the � ash o� the ceiling or a wall to see the e� ect on the subject’s face or under their eyes.

� e � � h and last function of the Test Flash button is used when you con� gure the SB- as a Master (Commander) unit. In Master mode (assuming your Test Flash button is programmed to FLASH in Custom Settings Menus), pushing the Test Flash button activates all the � ashes listening to it. It serves to ping the other � ashes, caus-ing them to ping back. � is is a valuable feature when you need to make sure all the � ashes are set up to the same Channel and the correct Group. Plus, it’s just plain fun to push the button and watch the other � ashes respond!

Alternatively, if you have the Test Flash button con� gured as a Modeling Light button while in Master (Commander) mode, it will trigger the Remote � ashes as Modeling Lights. Follow these steps to activate the Remote � ashes’ Modeling Lights:. Set up SB- as a Commander � ash. Set up Test Flash button as a Modeling

Light in Custom Settings Menus. Set up Remote � ashes to correct Channel

and Groups. Press Function Button on Commander

SB- until Group A is highlighted. Press Test Flash button (Group A � ash

triggers). Press Function Button on Commander

SB- until Group B is highlighted. Press Test Flash button (Group B � ash

triggers). Press Function Button on Commander

SB- until Group C is highlighted. Press Test Flash button (Group C � ash

triggers)Figure . - Press the Test Flash button to activate the fl ash’s own Modeling Light

Figure . - You can program the SB- custom functions so that the Test Firing button will cause the fl ash to put out /, /, or / power


66

Sync TerminalIf you use standard studio lighting equip-ment, then you will use the Sync Terminal (� gure .). Back in the day, we called this the PC cable, which stood for Positive Con-nection. All of the old cameras had built-in PC ports, so you just hooked the PC cable to the lights and the studio � ash power pack and voila, you were ready to go.

Nowadays, some cameras have built-in PC ports and others do not. For example, the Nikon D, D, D, D, D, and D cameras do not have PC ports, but the D, D, D, D, D, and F do (� gure .). Nikon provides a PC port on the SB- so it can be used as a studio light trigger even with cameras that don’t have a PC port. Nikon sells PC sync cords such as the SC- and SC-, but you can buy these types of cables from any camera store on the planet.

Here are the steps for using the PC termi-nal on the SB-:. Turn o� � ash. Mount � ash on camera. Turn on � ash and set it for Manual mode. Connect sync cord to � ash PC terminal . Connect sync cord to studio � ash power

pack. Turn on � ash and power pack. Take picture

Two-Button Controls� e SB- has two hidden functions that are only accessible when you press two but-tons together. � e back side of the SB- shows the button combinations to access these settings as the “Lock” icon and the “Green Dots”. Here are the hidden functions you can access when you push these buttons together:

Function Button and Function Button • = Button Lock. Use this when you want to prevent someone from changing the set-tings on the � ash. � is is useful when you have the SB- con� gured as a Remote and someone � nds it; you’d be surprised at how many people are tempted to push the buttons. Push the ON/OFF and SEL but-tons together again to unlock the � ash.Function Button and Function Button • = Reset. If you ever set up your � ash and can’t � gure out how to get the system back to its defaults, press these two buttons to-gether for a system reset. � is will return all of your custom settings to the factory defaults.

Figure . - PC cable terminal on the SB-

Figure . - The D PC port is built into the camera body


66


One of the best features of the SB- is the ability to customize its operation based on your own preferences. Accessing the Custom Settings Menus (CSM) is very simple, and navigating around the menus is a snap com-pared to the SB- and SB-.

To access CSM, press and hold the OK button for about two seconds. To exit from the CSM, press Function Button (EXIT).

Once you access CSM, you will notice that the screen changes to a stack of options on the le� side (� gure .). Each item in the stack represents an individual menu item. To access any item, rotate the Selector Dial until the item is highlighted. To make a change to that menu item, press the OK button.

Here is the sequence in a list:. Press OK button for two seconds. Rotate Selector Dial to highlight menu item. Press OK button to activate menu item. Rotate Selector Dial to highlight option

. Press OK button to make selection. Press Function Button (EXIT) to exit CSM

� ere are quite a few choices in CSM. Most people don’t rotate the Selector Dial enough to notice that there are more settings down below. � ere are a total of custom settings. Now that you can access the CSM, here is what each setting does and how to use it.

Figure . - Items in the Custom Settings Menus (CSM) are listed in a stack on the left side of the LCD panel

Table . SB- CSM descriptions



A – Auto Flash Mode Choose one of four settings for your � ash when setting it up in Auto Flash mode. See the previous section in this chapter on Auto Flash for instructions on how to use these � ash modes. • Auto Aperture Flash with monitor prefl ashes • Auto Aperture Flash without monitor prefl ashes • Non-TTL Auto Flash with monitor prefl ashes • Non-TTL Auto Flash without monitor prefl ashes

RPT – Repeating Flash Mode � is setting allows the SB- to control all your Remote � ashes in Repeat Flash mode. When you choose ON, the Master mode on the SB- changes to Repeating Master. When you choose OFF, the Master mode behaves as normal. � is mode is described in detail later in the chapter.

ON: Activated OFF: Canceled


66



M – Flash Output Level in Manual Mode � is setting allows you to change the EV step value between / (full power) and / (half power). I recommend setting this to ON so you have more � exibility with your � ash.

ON: Allows you to adjust by / (one third) steps between full power and half power. For example, you can choose / > / -. > / -. > /. All other output levels can also be adjusted by / steps.

OFF: Only allows you to make a full stop adjustment between full power and half power. You can choose / or /. All other output levels can be adjusted by / steps.

SU-4 – SU-4 Type Wireless Multiple Flash Shooting An SU- � ash is a previous generation � ash mode that allowed the user to wirelessly control older Nikon TTL � ashes. See later in this chapter for speci� c con� gurations and setup directions.

ON: SU- capability is activated OFF: SU- is not active. Flash operates normally.

Illumination Pattern � e SB- has a choice of three di� erent illumination patterns. In general, I recommend the Standard setting.

CW: Center Weighted pattern. � is concentrates more of the � ash‘s energy on the center of the image. You will notice more light fall-o� towards the edges. A good use for this pattern is wildlife or portrait photography where the subject is in the middle of the frame.

STD: Standard pattern. � is is the same pattern that most other Nikon � ashes use. I generally leave my � ash set for this pattern. EVEN: Even pattern. � is keeps the light at the edges of the frame the same brightness as the light in the middle. A good use for this pattern is group portraits.



66



Test Firing Button � is menu item con� gures how the Test Firing button behaves when you push it.

FLASH: Pushing the Test Firing button will cause the � ash to emit a single pulse of light. In Manual mode, it will emit the same amount of power that you dial into the � ash (e.g., / power). In TTL modes, it will emit the amount of light that you program into the next CSM item called FLASH.

MODELING: Pushing the Test Firing button will cause the � ash to illuminate like a Modeling Light in all � ash modes. � is will also allow you to trigger Remote � ashes as Modeling Lights when the � ash is con� gured as a Commander (Master) � ash.

FLASH � is setting allows you to con� gure how much power the � ash emits when you press the Test Firing button in TTL mode. When you use your � ash as a TTL � ash, you don’t press the Test Flash button to calculate your exposures. � erefore, this setting is not useful. I recommend leaving the value set at / power so you can save battery life but still make sure the � ash is operating.

M 1/128: Flash emits / powerM 1/32: Flash emits / power

M 1/1: Flash emits / power

FX/DX Selection � e SB- has the ability to detect what format you are shooting with your camera and then modify the � ash zoom for full coverage. FX is for full frame sensors like the D and D. DX is for .x crop sensors like the D, D, and D. I recommend leaving the setting at FX-DX so that the � ash can automatically switch between di� erent cameras you might use.

FX < > DX: Flash automatically sets the format depending on the camera FX: Flash only zooms for the FX format

DX: Flash only zooms for the DX format



66



M ZOOM – Power Zoom O� � is setting allows you to select whether or not the SB- will automatically zoom with your lens.

ON: Power Zoom o� . � is means that you can only zoom the � ash by pressing the ZOOM button. OFF: Power Zoom on. � is means that the � ash automatically zooms with the lens.

AF – AF Assist Illuminator/Flash Firing O� When you take photographs in dark areas, the � ash normally sends out a red Auto Focus (AF) grid that helps the sensors acquire focus. It is generally considered a good tool, and I recommend leaving this function on.

ON: Allows the AF Assist illumination beam to work OFF: Turns o� the AF Assist illumination beam AF ONLY: Turns o� the � ash and allows only the AF Assist beam to work. Do this if you want to take photos without your � ash but still want focus help from the AF Assist illumination beam.

STBY – Standby Function During normal operation, the SB- quickly goes into Standby mode to help save battery power. � e default setting is AUTO, which means that the SB- will temporarily turn o� when the camera’s exposure meter turns o� . Most cameras are set for a four-second or six-second delay on the light meter, which means that your � ash goes to sleep a� er four or six seconds. To wake the � ash back up, just press the shutter release on the camera. I leave my � ashes set to AUTO standby.

AUTO: Flash turns o� when the camera’s exposure meter turns o� : -second delay : -second delay : -second delay : -second delay - - -: Flash never goes into Standby mode



66



ISO – ISO Sensitivity Use this setting when you mount your � ash on an older camera such as an FM, FM, FA, or N. Nikon calls these cameras Group III to Group VII cameras. � eir camera bodies can’t speak to the � ash, so you must set the ISO manually. Normally, when using the SB- on a newer SLR, the camera communicates the ISO directly to the � ash, so there is no need to enter the ISO data manually.

� e range of ISOs you can set is between and , in increments of / step.

READY – READY Light Setting for Remote Flash � is setting allows you to display a READY light signal on the back and the front of the � ash. � e default setting shows the READY light on back/front, but you can change it if you like. I recommend the default setting so you can easily see the status of your Remote � ash.

REAR, FRONT: Shows the READY light on the rear of the � ash at all times and the front of the � ash when it is in Remote mode REAR: Only shows the READY light on the rear of the � ash FRONT: Only shows the READY light on the front when the � ash is con� gured as a Remote

LIGHT – LCD Panel Illuminator � is setting turns o� the LCD backlight function. Normally, when you press any button on the � ash, the backlight comes on. I regard this as a good thing and keep it on all the time. Maybe you would turn it o� to keep from attracting moths to your � ash at night!

ON: Allows backlight to turn on OFF: Does not allow backlight to turn on

� ermal Cut-out � is setting activates the over-temperature protection on the SB-. If you shoot rapid-� re � ash photography, the � ash can easily overheat and cause internal damage. � e SB- has an internal temperature sensor that shuts down the � ash if it is close to overheating. I recommend keeping it turned on.

ON: Turns on the thermal cut-out feature OFF: Turns o� the thermal cut-out feature



66



Sound Monitor In Wireless Remote mode, the SB- beeps to tell you the status of the � ash (see chapter ). Turn this setting on or o� to activate or cancel the sound when the � ash is used as a Remote. I generally like to keep the beeps on so I can hear if everything is working properly. A proper beep sequence is “Beep Beep …. Beeeeeep”. � at means everything worked, and you can move to the next photograph.

ON: Beep OnOFF: Beep O�

LCD Panel Brightness � is setting allows you to change the brightness and contrast of the LCD panel. Adjust the brightness by rotating the Selector Dial on the � ash. You have nine brightness steps to choose from. I keep it at the default setting which is halfway (as shown in the example to the le� ).

m/� Distance Unit of Measure � is setting allows you to choose the unit of measurement displayed on the LCD panel: metric (meters) or standard (feet).

m: meters� : feet

Broken Wide Angle Adapter If you ever break o� the built-in Wide Angle Adapter, you can use this setting to allow the � ash head to zoom. Normally, when the Wide Angle Adapter is deployed, the � ash sets the head at mm and then stops zooming. If you break o� the adapter (which happens more o� en than you might guess), go here and turn the setting to ON. � en you can manually zoom the � ash by rotating the Selector Dial. Note that the ON setting does not activate the automatic zoom if you’ve broken the adapter. Bummer.

ON: Manual setting activated (you can zoom � ash manually)OFF: Manual setting canceled (you can’t zoom � ash at all)



66



My Menu � is setting allows you to limit the number of CSM items. For example, if you only go into CSM to do one thing, like switch on SU- mode, then you can program My Menu to include just that one item.

FULL: � is displays all items in CSM. I recommend leaving the � ash set to this. MY MENU: Shows only the items you selected in the SET UP portion of My Menu. SET UP: � is is where you choose which items you want to display in the MY MENU area. Put a check in the box next to the items you want to show and remove the check from the items you want to hide.

VER. – Firmware Version � is setting shows the current version of the � rmware installed in the � ash. � e SB- allows you to update the � rmware whenever Nikon has so� ware � xes or improved features. To update the � rmware, connect the � ash to the camera (only a D or D) and follow the instructions provided by Nikon at the time of the update.

RESET – Reset Custom Settings Choosing YES from this menu will reset almost all of the custom settings back to the factory defaults. It won’t change the units of measuring distance or the settings for MY MENU. Everything else will be reset.

YES: Reset custom settings to default NO: Do not reset


Using the SB- as a Dedicated Flash

66

Using the SB-900 as a Dedicated Flash


TTL BL• TTL• Manual• Auto• Auto Aperture• Guide Number• RPT• A fully Dedicated � ash means that all of

the � ash’s capabilities can be used by the

camera body. Also, the � ash and the camera body communicate back and forth to relay information such as zoom settings, aperture, shutter speed, and power (� gure .).

The SB- also functions as a fully Dedicated flash when it is attached via a TTL remote cord such as the SC-, SC-, or SC-. These cables provide full TTL operation just as if the flash were mounted on top of the camera.

In general shooting scenarios where you want to operate quickly, I suggest setting the � ash mode to TTL BL. Table . shows some general settings for the camera and � ash in various scenarios.


Figure . - The SB- also functions as a Dedi-cated fl ash when connected via a TTL cord like the SC-, SC-, or SC-


66


� e SB- works exceedingly well as a Re-mote � ash unit (� gure .). In this scenario, you need some type of Commander � ash to send instructions to the Remote SB-. � e Commander can be another SB- (see the next section for how to set this up), an SB-

, an SU-, or the pop-up � ash from a D, D, D, D, D, or D. See chapter for a quick guide to con� guring your SLR as a Commander unit. Chapter shows how to set up the SU- as a Com-mander, and chapter shows how to set up the SB- as a Commander.

Setting up the SB- as a Remote � ash requires you to turn the Power Switch to the REMOTE setting and then con� gure the Channel and Groups appropriately.

Here are the steps to con� gure the SB- as a Remote: . Turn � ash power switch to Remote. Press Function Button to access Group. Rotate Selector Dial to set Group. Press Function Button to access Channel. Rotate Selector Dial to set Channel. Make sure Commander � ash is set to same


A number of things must be set up prop-erly between the Commander unit and the Remote unit. For example, both the Commander and Remote need to be set to


Shooting Camera Flash Flash Scenario Sync Mode Mode Power Comments











Table .

Figure . - REMOTE screen on the SB-. This fl ash is set up to be a Remote for Channel , Group B. In order for it to fi re, the Commander unit needs to send out information on Channel , Group B as well.


66

the same Channel (e.g., CH ) and Group (e.g., Group C).

Once you con� gure the � ash as a Remote unit, it takes all of its � ring instructions from the Commander unit. � ese instructions are broadcast via light pulses which the Remote receives through the Light Sensor on the side of the � ash (� gure .).

Make sure you point this Light Sensor towards the Commander � ash. It is pretty sensitive, but there are times when commu-nication fails because it literally can’t see the light.

When people � rst learn this system, one of the most common problems is forgetting to turn on the Commander � ash unit. I know it sounds obvious, but to � rst-time users, it is not intuitive. Remember, the Commander unit might be another SB-, an SB-, an SU-, or a pop-up � ash on your camera. Note: If the Commander is a pop-up � ash, be sure to pop it up!

Using the SB-900 as a Commander Unit

� e SB- can be con� gured as a Com-mander � ash to control a host of Remote � ashes (� gure .). I get very consistent results when using the SB- as a Com-mander as opposed to using a pop-up � ash as a Commander. One reason is that the SB- packs a lot of punch, and its light pulses can be seen far and wide. In contrast, the camera’s pop-up � ash has a relatively small amount of power.

I typically see a - failure rate when I use the pop-up � ash as a Commander, but I hardly ever get failed � ash photos when I use the SB- as a Commander. � is isn’t because pop-up � ashes are “bad”; the SB- simply has much more broadcast power. By the way, the SB- and the SU- are also very good Commander units with lots of broadcast power.

Figure . - The Light Sensor for Wireless TTL fl ash control is located beside the battery chamber. Point this sensor towards the Commander fl ash. Figure . - In this lighting setup, the SB-

is confi gured as a Commander to control three groups of fl ashes. Group A is on the left, Group B is on the right, and Group C is behind the subject.


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Setting up the SB- as a Commander is a simple process now that Nikon has rede-signed the user interface (� gure .). Here are the steps:. Turn � ash power switch to Master. Press Function Button to navigate to

Master, Group A, Group B, and Group C . Press MODE button to change to TTL, M,

AA, or - - -. Press Function Button to navigate to

� ash output. Rotate Selector Dial to change � ash output. Press the OK button. Press Function Button to change be-

tween Channels , , , and . Make sure Remote � ashes are set to same


Let’s talk more about each of these settings on the back of the � ash (� gure .).

Group� e le� column of letters on the � ash’s LCD represents the di� erent group designations. You can’t change the letters themselves, but it is helpful to know what they stand for:

M • = Master Flash SettingsA• = Group A SettingsB • = Group B SettingsC • = Group C SettingsEach Group can consist of one � ash or



TTL • = � rough � e Lens mode. � is mode behaves like the normal TTL mode described earlier. I use this mode for � ash-es that are set up in front of the subject. AA • = Auto Aperture mode. � is mode behaves like normal AA in that it uses the � ash’s sensor to judge � ash output. If you set up a � ash group as AA, then all the � ashes must be capable of being AA � ashes. In other words, you can’t have SB- Remote � ashes in a group set for AA. Also, make sure the SB- or SB- Re-mote � ashes in the group have their light sensors pointed at the subject. � at’s the only way the system can properly judge exposure. M • = Manual mode. � is mode sets up the � ashes as full Manual strobes. � e Com-mander SB- sends out instructions to each � ash in the group and tells them all what power level to shoot at. For example, all the � ashes in Group A will � re at / power if you set the group value to /.

Figure . - SB- Commander mode screen. The Group icons are on the left (M, A, B, C). Mode is the second column (- - -, TTL, TTL, M). Output is the third column (., -.). Channel is on the right (CH ).


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- - - • = O� mode. You can turn o� groups from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire group for the photograph. Some-times this is useful when you want to see each � ash group’s individual impact. Note that if you turn o� the M group (Master � ash), it won’t � re during the actual expo-sure. � is can be confusing to people be-cause they see the Master (Commander) � ash send out the pre-� ashes when they push the shutter release. � is has to hap-pen because the Commander unit still sends out commands to the Remote units through light pulses. Nevertheless, the Commander unit will not � re during the actual exposure.

Output� e neat thing about using the Nikon wire-less system is the ability to change � ash out-put from the back of the Commander unit. � is means you don’t have to walk over to each Remote � ash unit to change the power. How cool is that?!

To change the � ash power for a speci� c Channel, press the + and – buttons when that Channel is selected. In TTL mode, the read-out is in terms of stops. For example, +. means one-and-a-third stops brighter than .. In Manual mode, the readout is in terms of fractions. For example, / means one-sixty-fourth power.

ChannelNikon’s wireless system allows photogra-phers to choose from Channels , , , and (� gure .). � is is helpful when two or more photographers in the same vicinity want to use Nikon CLS wireless � ashes. Here are a couple of situations where it makes sense to use di� erent Channels:. At a press conference where there are mul-

tiple Nikon shooters and each one has a wireless setup. Before the event, meet with

the other photographers to determine who will be on what channel.

. At a high school dance with your photo assistant. You take formal photographs along a wall with a wireless studio setup on Channel . Your assistant takes infor-mal photographs on the dance � oor on Channel with lights set up at each corner to provide ample coverage.

You may be wondering whether any other manufacturer’s � ashes will set o� the Nikon wireless system. � e answer is no, for the most part. For example, if you are at a wedding and Aunt Matilda takes a photo with her Olympus point-and-shoot, it won’t a� ect your wireless setup. However, there are some manufacturers such as Metz and Radio Popper who design their equipment to inter-face with the Nikon wireless � ash system.

Figure . - There are four channels to choose from: , , , and . This fl ash is set up for CH .


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Other SB- Commander Functions

Modeling LightIf you want to preview your lighting setup, you can use the SB- to activate each light in your system by pressing the Modeling Light button on the back of the � ash. More speci� cally, you can activate each Group together by selecting that Group and then pressing the Modeling Light button. Here are the speci� c steps:. Go into the Custom Settings Menus and

set the item called Test Firing button to MODELING

. Set up SB- as a Commander � ash. Press Function Button (SEL) until

Group A is highlighted. Press Test Firing button

You can continue through this process to activate the Modeling Lights of each Group by simply highlighting Group B and then Group C (� gure .).

Also, if you have a D, D, D, D, or D (� gure .), you can activate all the � ashes together by pressing the Depth of Field (DOF) Preview button on the camera body (see chapter for more information).

Figure . - The Modeling Light is a great feature in wireless Commander mode because you can ac-tivate each of the Remote fl ashes’ Modeling Lights while standing behind your camera. In this image, the Modeling Lights on the Group A fl ashes will fi re when the Modeling Light button is pressed.

Figure . - Pressing the Depth of Field (DOF) Pre-view button on your D, D, D, D, or D will activate all the Modeling Lights in your entire wireless system.

Using the SB- as a Repeat Commander Unit

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Flash ButtonSometimes it is bene� cial to see if each of the Remote � ashes is “listening” before you trip the shutter. You can press the SB-’s Test Firing button to ping all the remote � ashes in the wireless system (� gure .). When you do this, each Channel will ping back in sequence. If a Remote � ash is tuned to the wrong Channel, it won’t ping in response to the Commander � ash. By the way, the ping I’m referring to is a single pulse of light.

Here are the steps to do this:. Go into the Custom Settings Menus and

set the item called Test Firing button to FLASH

. Set up SB- as a Commander � ash. Press Test Firing button. Watch the remote � ashes ping back

Using the SB-900 as a Repeat Commander Unit

� is mode is di� erent from the standard SB- Commander mode. Use this mode when the regular Repeat (RPT) mode on the � ash doesn’t have enough power to illuminate the scene by itself. In this scenario, you can con-� gure the SB- as a Repeat Commander unit (� gure .) and instruct a bank of Re-mote � ashes to � re in sync.

Here is how to set up the SB- as a Repeat Commander unit:. Go into the Custom Settings Menus and

set the item called RPT to ON. Press Function Button (SEL) to access

Master, Group A, Group B, and Group C. Press Function Button (ON/OFF) to

turn the Group on or o� . Press OK button. Press Function Button to access Channel

and rotate Selector Dial to change Channel. Press Function Button to access Repeat

functions (RPT). Press Function Button to access Output

(M) and rotate Selector Dial to change output

. Press Function Button to access TIMES and rotate Selector Dial to change TIMES

. Press Function Button to access Hz and rotate Selector Dial to change Hz


. Take picture

Figure . - Access the Master REPEAT mode from the Custom Settings Menus

Figure . - Pushing the Test Firing button in Commander mode will ping all of the other fl ashes. Each fl ash in Group A, B, and C will ping back in sequence if set to the correct Channel and Group. This is a great way to check your system setup be-fore actually taking photos.


66Let’s talk about each of the settings shown

in � gure ..

Group � e letters M, A, B, and C on the � ash’s LCD represent the di� erent Group designations. You can’t change the letters themselves, but it is helpful to know what they stand for:



ModeEach Group can operate in one of two � ash modes: ON or OFF. For example, Group A can operate as RPT (ON) while Group B is turned OFF (- - -). Pressing Function Button

changes the � ash mode for the Group. Here is what each designation means:

ON • = Repeat Flash mode. � is activates the group as a Repeat � ash.OFF • = O� mode. You can turn o� Groups from the Commander unit by selecting OFF as the � ash mode. � is will deacti-vate the entire Group for the photograph. Sometimes this is useful when you want to see each � ash Group’s individual impact. Note that if you turn o� M (Master � ash), it won’t � re during the actual exposure. � is can be confusing because the Master � ash still sends out pre-� ashes when you push the shutter release. � is has to hap-pen because the Master unit sends out instructions to the Remote units through light pulses. But, when it comes to � ring during the actual exposure, the Com-mander unit doesn’t � re.

OutputJust like in a normal wireless setup, you can change � ash output from the back of the Commander unit. � is means you don’t have to go over to each Remote � ash unit to change the power. To change the � ash power, press the + and - buttons. In this mode, the readout is in terms of fractions. For example, / means one sixty-fourth power.

FrequencyFrequency is how many pulses per second the � ash will � re. For example, Hz means the � ash � res � ve times per second.

Quantity of Pulses� is is how many times the � ash � res until it stops. For example, a value of means the � ash � res times and then stops � ring.

ChannelYou still have four Channels to choose from in Wireless Repeat mode: Channels , , , and . Generally, you work alone in a studio when using Repeat Commander mode, so

Figure . - This is the main control screen for Repeat Commander mode. Push the SEL button to jump from setting to setting. M = Master Flash A = Channel A B = Channel B C = Channel C ON = Flash will Repeat OFF = Flash is off / = Output for each pulse Times = pulses per second Hz = pulses per second CH = Channel


66

there is less need for all four Channels than when photographing in a group of other photographers.


Calculating Shutter Speed: • Divide the Quantity of � ashes by the Frequency. For example, if the � ash � res a total of times and the Frequency is � ve � ashes per second, then the duration of the sequence is two seconds ( � ashes divided by � ve � ashes per second is two seconds). Anoth-er example: if your � ash � res at two � ashes per second and you � re a total of times, then the duration of the sequence is seconds ( � ashes divided by two � ashes per second is seconds). You then set that value as the shutter speed.Figuring Out Aperture:• � e smaller the aperture you use, the closer you must be to your subject. For example, f/ might require you to be two feet away, whereas f/ would allow you to be eight feet away. Keep adjusting the aperture on the camera body until you are happy with the working distance between the � ash and the subject.

Using the SB-900 as an SU-4 Unit (Commander or Remote)

A few years ago, Nikon introduced a simple system aimed at allowing “wireless” TTL � ash control. � is system was introduced in the era of the Ns and the F � lm cameras and was actually pretty ingenious. It required the use of an SU- unit (� gure .) attached to a normal TTL � ash such as an SB- or SB- (� gure .).

If you have older � ashes and SU- units lying around, you might like to use them in a wireless setup. As you know, though, they will not work with the Nikon CLS wireless setup. Fortunately, Nikon installed a func-tion in the SB- that allows it to operate like older TTL � ash systems that didn’t have pre-� ash technology.

Some Other Tips

Make sure the ambient light is very low or even nonexistent so your subject is only ex-posed by the � ash. Also, try to make your backgrounds very dark in color. In other words, make your studio almost completely black. � e reason is that you typically want the entire scene to be lit up just by the � ash and not by any ambient light. Finally, position your subject far away from the background. � is will keep the � ash’s re� ected light from lighting up the background.

Figure . - The SU-, Nikon’s original wireless remote module. This unit and SU- fl ash mode are still supported via the Custom Settings Menus and the SB-’s built-in Light Sensor.

Figure . - This is the CSM screen to set up SU- mode on the SB-


66

When you set up the SB- in this mode (� gure .), the � ash emits only one pulse of light (rather than the two you would normally get with the iTTL pre-� ash). When the SB- stops putting out light, all of the SU- Remote � ashes also stop putting out light. Simple.

� is next part is a little bit confusing. � e SU- Remote unit shown in � gure . oper-ates in SU- � ash mode when mounted on another Nikon � ash like the SB-. Many times people refer to an SU- when they are talking about the actual unit (� gure .). � ey also refer to SU- mode, which refer-ences the setting in the SB- � ash that simulates the operation of the SU- unit.

Figure . shows an SB- attached to an SU- Remote module. � is allows the � ash to listen to SU- instructions from the SB-. When the SB- is attached to an SU- module, it needs to be set for Manual output (� gure .). Also, the switch on the SU- module needs to be set for Manual.

You can also use your older Nikon � ashes such as the SB-, SB-, etc. with the SU- Remote module (� gure .) as long as they receive instructions from the SB- that is set up in SU- mode.

Figure . - The SB- can be attached to an SU- and will work just fi ne as a Remote unit

Figure . - Note that when the SB- is mount-ed on an SU- unit, the fl ash must be set up in Manual mode

Figure . - Older fl ashes like the Nikon SB- work great in SU- mode. You can also use it with fl ashes from Metz, Vivitar, Canon, etc. if they are set up in Manual mode.


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Here’s how to set up SU- mode on the SB-:. Mount the SB- on your camera. Turn on the SB- and camera. Go into the Custom Settings Menus and

set the item called SU- to ON . Turn power switch to Master. Press MODE button to choose � ash mode

(M, AA, GN). Set � ash power on SB- with Selector

Dial. Attach SU- unit to Remote � ashes

(e.g., SB-). Turn SU- switch to Auto or Manual. Take picture

� e � ash modes available in SU- mode are limited to Manual, Auto Aperture, and Guide Number. However, these modes behave di� erently from their normal operation. Let’s review each � ash mode here to understand what is happening. Press the MODE button to toggle between each of these modes.

AA (SU-)AA SU- mode is shown in � gure .. Here, you can use the SU- Remote � ash’s own light sensor to judge � ash output. � is mode is not a TTL mode and relies heavily on the Remote � ash’s ability to judge exposure. � erefore, the Remote � ash needs to be ca-pable of Auto Flash operation by itself. For example, an SB- cannot be an SU- Re-mote AA � ash, but the SB- can be an SU- Remote � ash in AA mode if you have the SB- Commander con� gured for AA mode.

Make sure the Remote � ash’s Light Sensor is aimed squarely at the subject with noth-ing in the way. For example, if you place the Remote � ash behind an umbrella in AA mode, the � ash will judge exposure o� the back of the umbrella!

Figure . - Here is the SB- Custom Settings Menu for SU- mode

Figure . - This is what the SB- screen looks like in SU- Manual mode. Notice that the squiggly arrow points to the left. That is Nikon secret code speak for “Commander” in SU- mode.

Figure . - Here is SU- AA mode on the SB-. This mode works just great. Be sure to also confi g-ure your Remote fl ash as an AA fl ash.


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When in AA mode, be sure the SU- Remotes are in the same mode. � is means they must be set up as Auto Flashes in SU- mode. Here’s how to do this on three � ash models:

SB-26: • Mount the SB- to the SU- con-troller. Set the SU- to AUTO. Set the SB- to A (Auto).SB-800: • Turn the SB- to SU- mode from the Custom Settings Menus. Press the MODE button until you see A (� gure .). Notice that the SB- does not re-quire mounting an additional SU- unit, since the SB- is its own SU- control-ler.SB-900: • Turn the SB- to SU- mode from the Custom Settings Menus. Rotate the power switch to Remote. Press the MODE button until you see A. Like the SB-, the SB- doesn’t require an ad-ditional SU- unit to be mounted, since the SB- is its own SU- controller.

GN (SU-)When you have the SB- mounted as an SU- Commander (� gure .), you can still use GN mode. � is mode only con� gures the SU- Commander as a GN � ash. � e SU- Remote � ashes operate as either M (Manual) or A (Auto) � ashes, depending on how you set them. For more information on GN us-age, read the GN mode section earlier in this chapter.

Figure . - This is what the SB- screen looks like in SU- AA mode as a Remote fl ash. It is not connected to the SU- control module because the SB- has its own built-in SU- controller. No-tice also that the squiggly arrow points to the right, which is Nikon secret code speak for “REMOTE” in SU- mode.

Figure . - When you confi gure the SB- as an SU- GN fl ash, it only works using the GN cal-culation. The Remote SU- fl ashes work as regular Manual or Auto fl ashes, depending on how you confi gure them.


66

M (SU-)M (Manual) mode is probably the most prac-tical of the SU- modes because it gives you the most control (� gure .). You also need some method to determine your exposures, so I recommend using a hand-held light me-ter when you set up your lighting arrange-ment.

� e � rst step in using SU- Manual mode is to set up your Commander SB- as an SU- unit as explained above and mount it on your camera. Next, press Function Button to access the output setting and rotate the Selector Dial to adjust power (� gure .).

Now, set up your Remote � ashes as SU- remotes:

Old Flash Models• : Mount the older � ash (e.g., SB- or other manufacturer’s � ash unit) to the SU- controller module (� g-ure .). Set the SU- to M (Manual). Set the � ash’s mode to M (manual). Adjust power output on the Remote � ash.SB-800:• Turn the SB- to SU- mode from the Custom Settings Menus. Press the MODE button until you see M. Notice that the SB- does not require mount-ing an additional SU- unit since it is its own SU- controller. Press the + and - buttons to set the power output.

Figure . - Manual is the most practical method to use in SU- mode because you have full control over the lighting in your scene. This SB- is con-fi gured as an SU- Remote. You can tell because the squiggly arrow is pointing to the right.

Figure . - Set the switch on the SU- controller module to M when your fl ash system is set up in Manual mode

Figure . - The SB- is mounted on an SU- control module and will work well as an SU- Man-ual Remote fl ash unit. Just about any other fl ash you own will also work fi ne with the SU- control module.


66

SB-900:• Turn the SB- to SU- mode from the Custom Settings Menus. Turn the power switch to Remote. Press the MODE button until you see M. � e SB- does not require mounting an addi-tional SU- unit since it is its own SU- controller. Change the power by pressing Function Button and then rotating the Selector Dial.SB-600:• Set the SB- for Manual mode. Press the MODE button until you see M. � e SB- requires mounting an SU- unit to its base. Set the SU- to M (Manu-al). Press the + and - buttons on the � ash to set the power output.

Figure . - The SB- does not need to be at-tached to anything to work as an SU- Remote fl ash unit. Just set up the CSM menu for SU-, then press the MODE button until the LCD screen shows M.

Figure . - The SB- is mounted on an SU- control module and will also work well as an SU- Manual Remote fl ash unit

SU-, SB-R, and RC Operation

77

SU-800, SB-R200, and R1C1 Operation

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Nikon’s RC close-up lighting kit complete-ly integrates with the CLS. � e SU- Com-mander and the SB-R Remote � ashes are part of the Nikon RC system along with a host of other hardware pieces. � e entire kit

is very well thought out, but like everything else in the Nikon CLS, using it properly takes practice and knowledge.

Table . breaks down the � ashes and kits that make up this system.

Figure . - The RC kit ships with all kinds of goodies!

Flashes and Kits

Name Description Includes

SU- Wireless Speedlight Commander Only the SU-

SB-R Wireless Speedlight Remote Only the SB-R

RC Close-up Speedlight Commander Kit SU-, SB-R, gels, adapter rings, light

stands, di� usion panel, close-up lighting

adapters

R Close-up Speedlight Remote Kit Everything in the RC except the SU-.

� is kit is typically purchased by

photographers who own SLRs with

Commander � ashes like the D, D,

D, and D.

Table .


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SU-800 Buttons and Controls

� e SU- can be purchased as a stand-alone unit for about the same price as an SB- � ash. However, the di� erence between them is that the SU- can only function as a Commander unit. In other words, it cannot be used as a � ash itself to light up a scene; it can only command other � ashes.

Photographers use the SU- for a variety of reasons. � e main reason is that it is very lightweight compared to an SB- or SB- Commander. Another reason is that the opera-tion of the SU- is very simple and quick. You don’t need to go into numerous submenus to activate the features of the � ash because they are already active when you turn it on.

Commander Transmit WindowUnlike other � ashes in the Nikon system, the SU- does not have a � ash head that emits visible light. � e Transmit Window shown in � gure . simply broadcasts the Commander infrared light pulses to the other � ashes in your system. Notice that the window only points forward, so you have the best chance of success if you position your Remote � ash-es in front of the SU-.

If you are in a smaller room like a typi-cal living room or hotel conference room, you might be able to trigger � ashes located behind the SU- since the command light signals can bounce o� the walls.

First-time users of the SU- are o� en surprised to learn that it does not use visible pulses of light to trigger the Remote � ashes. Instead, it uses infrared (IR) light to control all the Remote � ashes in the system. You won’t visually see the pulses of light, but you can hear them � ring if you pay close atten-tion to the clicking noises the SU- makes.

AF Assist Illuminator� e large red area shown in � gure . auto-matically activates when it is dark to help your camera auto focus. � is feature nor-mally overrides the camera body’s AF Assist

Figure . - The Commander Transmit Window only sends command signals forward, so make sure your Remote fl ashes are located in front of the SU-

Figure . - The AF Assist Illuminator for the SU- activates when it is dark to help your camera auto focus

SU- Buttons and Controls

77

Illuminator (found on the D, D, and D). � is pattern also activates when the � ash is used with a TTL extension cord such as the SC-, SC-, or SC-.

Battery Chamber Lid� e Battery Chamber Lid is simple to operate: just slide the cover down to the “unlocked” position and then open up the chamber (� g-ure .). Notice that the SU- uses CR- Lithium batteries rather than the usual AA batteries. � is helps to reduce the overall size and weight of the unit.

I � nd that over time the battery contacts may corrode, causing a poor connection between the batteries and the � ash. To reme-dy the problem, I clean them with a pencil eraser or lightly scrape them with a pocket knife. Also, the tabs deep inside the battery chamber can form light corrosion, so I clean those o� as well.

Commander/Close-up Select Switch� is switch is hidden behind the battery door and toggles between the Close-up and Com-mander modes on the SU- (� gure .). In general, I recommend leaving the switch set for Commander mode (bottom position) for all of your shooting. � e user interface is easier to understand, and it works just � ne for close-up/macro photography when you are in Commander mode. Later in this chap-ter I describe each of the modes and when to use them.

IMPORTANT!




Figure . - SU- Battery Chamber Lid

Figure . - SU- Commander/Close-up Select Switch


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ON/OFF Button Make sure you turn the � ash o� before you attach or remove it from the camera body (� gure .). � is prevents any short circuits as well as preventing the � ash from � ring.

Of course, the ON/OFF button is used to turn the � ash on and o� , but it also is used to reset all the settings to their default values. To do this, simultaneously press the ON/OFF and MODE buttons for two seconds. � e LCD panel will blink three times to indicate that the system has reset.

Right and Left Buttons� e Right and Le� buttons are generally used to control the power output of the � ash (� gure .). Depending on what mode the � ash is in, the output is shown in terms of stops or frac-tions.

In TTL mode or AA mode, the Right and Le� buttons control � ash output in stops. Note that they control � ash output compen-sation and are independent from the expo-sure compensation button on the top of your camera (� gure .).

� e default setting for the � ash is ., which means the � ash will put out enough light to make the scene medium brightness. Stated another way, if your � ash is set up for ., then it will try to expose the subject as bright as an gray card.

Pressing the Right button increases the amount of � ash compensation. If you press it one time in TTL mode, the � ash will display + . on the LCD. � e +. symbol will blink for

a few seconds and then stop blinking to indi-cate the new setting. When you take a picture with +., the exposure will end up being brighter by . stops than the same photo with . (� gure .).

On the other hand, if you press the Le� button, you decrease the amount of � ash compensation. For example, a value of -. will decrease � ash output by . stops from .. Stated another way, the � ash will put out / stops less from what would be required to illuminate your subject at an gray brightness value (� gure .).

When your � ash mode is set up for Manual, the +/- buttons still control � ash output, but now the readout changes to frac-tions. Remember, in TTL mode, the camera automatically controls the � ash output to what it thinks is correct. However, in Manual mode, you are the brains behind the output. You must � gure out how much light to add to the scene either by using a Guide Number calculation, a hand-held light meter, or by trial and error.

Figure . - Flash compensation on the SU- is shown in terms of stops. In this case, +. means two-thirds of a stop more light than ..

Figure . - Right and Left buttons are used to con-trol fl ash power

Figure . - SU- ON/OFF Button


77

Figure . - The Exposure Compensation button on your camera is diff erent from the Flash Compensation button (fi gure .). Exposure Compensation changes the amount of ambient light in the exposure.

Figure . - The Flash Compensation button on your camera only changes fl ash output. Exposure Com-pensation only changes shutter speed or aperture.


77

MODE ButtonLike most of the control buttons on the SU-, the MODE button (� gure .) per-forms a number of functions depending on how the � ash is con� gured.

When using the SU- in normal opera-tion, the MODE button sets the operational mode of the Remote � ashes in your system. For example, press the MODE button to change the � ashes in Group A from Manual to TTL mode. Remember, you are not setting the SU- as a TTL � ash, but rather tell-ing the Remote � ashes to behave like TTL � ashes.

� ere are four di� erent modes you can select: TTL, AA, M, and - - -. Here is what each designation means:

TTL = � rough � e Lens mode.• � is mode behaves like the normal TTL mode described earlier. I use this mode for � ash-es that are set up in front of the subject. AA = Auto Aperture mode. • � is mode behaves like normal AA in that it uses the � ash’s sensor to judge � ash output. If you set up a � ash group as AA, then all the � ashes must be capable of being AA � ash-es. In other words, you can’t have SB- Remote � ashes in a group set for AA. Also, make sure the SB- or SB- Remote � ashes in the group have their body sen-sors pointed at the subject. � at’s the only way the system will be able to properly judge exposure.

M = Manual mode. • � is mode sets up the � ashes as full Manual strobes. � e Com-mander SU- sends out instructions to each � ash in the group and tells them all what power level to shoot at. For example, all the � ashes in Group A will � re at / power if you set the group value to /.- - - = O� mode.• You can turn groups o� from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire group for the photograph. Some-times this is useful when you want to see each � ash group’s individual impact.

A - B Button� is button turns your Remote � ashes on or o� when you con� gure the SU- in Close-up Commander mode. Push the button once to turn o� Group B. Push the button a second time to turn o� Group A. Push it a third time to reactivate both Groups (� gure .).

Figure . - The A – B button turns your Remote fl ashes on or off when you are in Close-up Com-mander mode

Figure . - SU- MODE button


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SEL ButtonUse this button to select di� erent settings on the � ash. In normal operation, press the SEL button to jump between Groups so that you can individually change the brightness. You can also press the SEL button to navigate to the Channel area of the LCD screen and change between Channels – (� gure .).

In addition, if you push the SEL button for two seconds, you activate the Repeat Commander � ash mode. I cover that mode later in the chapter.

READY LightWhen the READY light is on, it means that the � ash’s capacitor is fully charged and ready to take the next picture (� gure .). A� er you take a photo, the READY light turns o� while the � ash recharges its capacitor. Once

the capacitor is recharged, the READY light turns on again.

When you are waiting between photos, the � ash will periodically go into Standby mode. At that point, the READY light turns o� until you wake up the � ash by pressing the ON/OFF button or the camera’s shutter release button (� gure .).

� e SU- does have a battery level indicator that shows up on the LCD panel if the READY light doesn’t turn on in about seconds. In general, though, the READY light is the best way to really tell how much power remains in your batteries. � e longer it takes for the READY light to illuminate, the lower your battery life. If you � nd that it takes four to six seconds between shots to recharge the � ash, then it is probably time to change your batteries.

Figure . - SU- SEL button




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Flash Button� e Flash button on the SU- (� gure .) is used primarily to “speak” to the other � ashes in the wireless system. When you push the Flash button, all of the � ashes listening to the SU- will � ash back in sequence to let you know they are set to the right Channel and Group. � is is a valuable feature to help you make sure everything is programmed cor-rectly. Plus, it’s just plain fun to push the but-ton and watch the other � ashes respond!

Note that the SU- does not output a visible � ash by itself when you press the Flash button. Remember, it only uses IR light for the instructions. If you listen care-fully, you can hear a little click when you press the Flash button to let you know that it � red. One � nal note: make sure that that the SU-’s READY light is on when you press the Flash button; otherwise, it won’t work.

Mounting Foot Lock LeverObviously, this lever locks the � ash on top of the camera. I highly recommend using it so that your � ash doesn’t fall o� your camera while you are taking pictures (� gures . and .).

Figure . - SU- Flash button

Figure . - Lever is unlocked. Notice that the locking pin does not protrude from the base.

Figure . - Lever is locked. Here, the locking pin does protrude from the base. When the fl ash is mounted, the pin will lock into the hot shoe and prevent the fl ash from falling off the camera.


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Hot Shoe Contacts� ere are four metal contacts on the bottom of the � ash and four round circular contacts on the camera’s hot shoe. Obviously, all four pins on the bottom of the � ash must match up properly with all four contacts on the camera. If not, then the � ash and camera cannot communicate. I have had this hap-pen many times when I moved too quickly and didn’t fully secure the � ash to the camera body (� gures . and .).

Modeling Light Button� e SU- Modeling Light button allows you to see where the shadows will fall from your Remote � ashes before you take a photo. I use this feature to check out my lighting positions when setting up my � ashes. I can press the Modeling Light button on the SU- and have my Remote SB- trigger while I look at the subject. I am looking to make sure the shadows are positioned prop-erly and that the catch lights in my model’s eyes are visible (� gure .).

� e SU- triggers Modeling Lights for the SB-, SB-, SB-, and SB-R � ashes. Here’s how to set up the SU- to trigger the Remote � ashes’ Modeling Lights:. Set up SU- to correct Channel and

Groups. Set up Remote � ashes to correct Channel

and Groups. Press SEL button on Commander SU-

until Group A letters blink. Press Modeling Light button (Group A

� ash triggers). Press SEL button on Commander SU-

until Group B letters blink. Press Modeling Light button (Group B

� ash triggers). Press SEL button on Commander SU-

until Group C letters blink. Press Modeling Light button (Group C

� ash triggers)

Figure . - The fl ash has four conical electrical contacts that need to mate up with the four con-tacts on the camera


Figure . - Press the SU-’s Modeling Light button to activate the Remote fl ash’s Modeling Light


77

TTL Cord Terminal� e RC kit can be used wirelessly on CLS compatible cameras like the D, D, and D. It can also be used on older, non-CLS compatible � lm and digital cameras like the F, Ns, and D. You accomplish this by connecting the SB-R � ashes to the SU- via a special Nikon cable called the SC- (� gure .).

When the RC is con� gured with the SC- cable, you can use SB-R � ashes in TTL BL, TTL, or Manual modes as long as your camera supports those options. If you own an F, you can only use Manual mode since that camera does not have a TTL � ash meter.

Two-Button Controls� e SU- has two hidden functions that are only accessible when you press two but-tons together.. MODE and Le� Arrow = No AF-ILL. Use

this combination when you want to turn o� the AF Illumination (AF-ILL) feature of the SU- Commander. Figure . shows what the LCD panel looks like when No AF-ILL is activated (� gure .).

. MODE and ON/OFF = Reset. If you ever set up your flash and can’t figure out how to get the system back to its defaults, then press these two buttons together for a system reset.

Figure . - The TTL cord terminal is used to hook up SB-R fl ashes to the SU- Commander on older Nikon cameras

Figure . - SU- Commander with No AF-ILL activated

Using the SU- as a Commander Unit

77

Using the SU-800 as a Commander Unit

� e only way you can use an SU- is as a Commander. Like the SB- and SB-, the SU- allows you to control four di� er-ent Channels and three Groups per channel. I get very consistent results using the SU- as a Commander instead of using a pop-up � ash as a Commander. One reason is that the SU- packs a lot of punch, and its IR light pulses can be seen far and wide. In contrast, the camera’s pop-up � ash has a relatively small amount of power (� gure .).

I typically see a - failure rate when I use the pop-up flash as a Commander, but I hardly ever get failed flash photos

when I use the SU- as a Commander. This isn’t because pop-up flashes are “bad”; the SU- simply has much more broad-cast power. By the way, the SB- and the SB- are also very good Commander units with lots of broadcast power.

� e SU- has three di� erent Commander modes:

Commander mode• Close-up Commander mode• Repeat Commander mode• � e most useful mode is Commander

mode. In fact, this is the mode I use of the time. I can’t honestly remember the last time I used Close-up Commander mode or Repeat Commander mode (� gure .).

Figure . - In this lighting setup, the SU- is confi gured as a Commander to control three Groups of fl ashes. Group A is on the left, Group B is on the right, and Group C is behind the subject.

Figure . - SU- Commander mode screen. The Group icons are on the left (A, B, C). Mode is the second column (TTL, M, AA). Output is the third column (., -., +.). Channel is on the right (CH ).


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Commander Mode� is is the most useful mode for the majority of your photography. To access it, open up the battery cover and move the switch down to the bottom position (not the � ower posi-tion).

� e � ash’s LCD panel (� gure .) now looks very similar to the LCD panel on Nikon’s other Commander � ashes, like the SB- and SB-. If you have used the SB- before, then operation of the SU- will be very straightforward. Here is how to set up the LCD panel:. Turn on � ash. Press SEL button to navigate between

Group A, Group B, Group C, and CH set-tings

. Press MODE button to change Group � ash mode (TTL, AA, M, - - -)

. Press Le� and Right buttons to change Groups


. Take picture

Let’s talk more about each of these settings on the back of the � ash.

Group� e le� column of letters on the � ash’s LCD represents the di� erent Group designations. You can’t change the letters themselves, but it is helpful to know what they stand for:

A• = Group A SettingsB• = Group B Settings

C • = Group C SettingsEach Group can consist of one � ash or

multiple � ashes. � e SU- does not have a Master (M) line item like the SB- and SB-. � is is because the SU- cannot output visible light, but rather acts only as a Commander unit for the Remote � ashes in your system.


TTL = � rough � e Lens mode.• � is mode behaves just like the normal TTL mode previously described. I use this mode for � ashes that are set up in front of the subject. AA = Auto Aperture mode. • � is mode behaves like normal AA in that it uses the � ash’s sensor to judge � ash output. If you set up a � ash group as AA, then all the � ashes must be capable of being AA � ashes. In other words, you can’t have SB- Remote � ashes in a Group set for AA. Also, make sure the SB- or SB- Re-mote � ashes have the light sensors pointed at the subject. � at’s the only way the sys-tem can properly judge exposure. M = Manual mode. • � is mode sets up the � ashes as full Manual strobes. � e Com-mander sends out instructions to each � ash in the group and tells them all what power level to shoot at. For example, all of the � ashes in Group A will � re at / power if you set the Group value to /.- - - = O� mode. • You can turn o� Groups from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire group for the photograph. Some-times this is useful when you want to see each � ash group’s individual impact.

Figure . - SU- LCD panel in Commander mode


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Output� e neat thing about the Nikon wireless system is the ability to change � ash output from the back of the Commander unit. � is means you don’t have to walk over to each Remote � ash unit to change the power. How cool is that?!

To change the � ash power for a speci� c Channel, press the Le� and Right arrow buttons when that Channel is selected. When you are in TTL mode, the readout is in terms of stops. For example, +. means one-and-a-third stops brighter than .. When you are in Manual mode, the readout is in terms of fractions. For example, / means one-sixty-fourth power.

ChannelNikon’s wireless system allows you to choose from Channels , , , and (� gure .). � is is helpful when two or more photographers in the same vicinity want to use Nikon CLS wireless � ashes. Here are a couple of situations where it makes sense to use di� erent Channels:. At a press conference where there are mul-

tiple Nikon shooters and each one has a wireless setup. Before the event, meet with the other photographers to determine who will be on what channel.

. At a high school dance with your photo assistant. You take formal photographs along a wall with a wireless studio setup on

Channel . Your assistant takes informal photographs on the dance � oor on Channel with lights set up at each corner to pro-vide ample coverage.

You may be wondering whether any other manufacturer’s � ashes will set o� the Nikon wireless system. � e answer is no, for the most part. For example, if you are at a wedding and Aunt Matilda takes a photo with her Olympus point-and-shoot, it won’t a� ect your wireless setup. � ere are some manufacturers such as Metz and Radio Popper who design their equipment to inter-face with the Nikon wireless � ash system.

Repeating Flash Commander ModeIn Repeating Flash Commander mode, the SU- causes the Remote � ashes to � re re-peatedly during a single exposure. � is cre-ates a stroboscopic multiple-exposure e� ect for each photograph you take. An example would be photographing a dance routine where the � ashes � re repeatedly to “freeze” the dancer in various positions.

In order to pump out enough light to freeze the dancer, the Remote � ashes need plenty of power and fast recycle times. � erefore, in this case, you can’t use SB-R � ashes as Remotes, but you can use SB-, SB-, and SB- � ashes as Remotes.

Set the Commander/Close-up select switch on the SU- to Commander mode. � en press and hold the SEL button for two seconds. Your LCD panel will now look like � gure ..

Figure . - There are four Channels to choose from: , , , and . This fl ash is set up for CH .

Figure . - The RPT symbol indicates that the SU- is confi gured as a Repeating Flash Commander


77

Quickly tapping the SEL button allows you to access any one of the screen’s settings. Figure . identi� es each of the screen icons.

ModeEach Group can operate in one of two � ash modes: (Blank) or - - -. For example, Group A can operate as Repeat � ashes (Blank, or On) while Group B is turned o� (- - -). Press-ing the MODE button changes the � ash mode for the Group. Here is what each desig-nation means:

(Blank) = Repeat Flash mode. • � is acti-vates the group as a Repeat � ash.- - - = O� mode. • You can turn Groups o� from the Commander unit by selecting - - - as the � ash mode. � is will deactivate the entire Group for the photograph. Some-times this is useful when you want to see each � ash Group’s individual impact.

OutputJust like in a normal wireless setup, you can change � ash output from the back of the Commander unit. � is means you don’t have to go over to each Remote � ash unit to

change the power. To change the � ash power, press the + and - buttons.

In this mode, the readout is in terms of fractions. For example, / means one sixty-fourth power. � e total range of output is between / and / power. Note that Output controls all remote � ashes equally; you can’t make Group A put out more light than Group B.

Frequency� is is how many pulses per second the � ash will � re. For example, Hz means the � ash � res � ve times per second.

Quantity � is is how many times the � ash � res until it stops. For example, a value of means the � ash � res times and then stops � ring.

ChannelYou still have four Channels to choose from in Wireless Repeat mode: Channels , , , and . Generally, you work alone in a studio when using Repeat Commander mode, so there is less need for all four Channels than when photographing in a group of other photographers.

Figure . - Screen identifi cation for Repeating Commander Mode on the SU-


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Calculating Shutter Speed: • Divide the Quantity of � ashes by the Frequency. For example, if the � ash � res a total of times and the Frequency is � ve � ashes per second, then the duration of the sequence is two seconds ( � ashes divided by � ve � ashes per second is two seconds). Anoth-er example: if your � ash � res at two � ashes per second and you � re a total of times, then the duration of the sequence is seconds ( � ashes divided by two � ashes per second is seconds). You then set that value as the shutter speed.Figuring Out Aperture:• � e smaller the aperture you use, the closer you must be to your subject. For example, f/ might require you to be two feet away, whereas f/ would allow you to be eight feet away. Keep adjusting the aperture on the camera body until you are happy with the working distance between the � ash and the subject.

Here are the actual steps for setting up the SU- as a Repeating Flash Commander unit:. Turn Groups On/O�

A. Press the SEL button until the Group • value blinksB. Press the MODE button to turn the • Group On or O� . - - - means the Group is O� . (Blank) means the Group is On.

. Change Remote Flash Output levelA. Press SEL button until Flash Output • level blinksB. Press Right or Le� arrow button to • change power between / and / power

. Change Frequency of light pulsesA. Press SEL button until Flash Frequen-• cy blinksB. Press Right or Le� arrow button to • change FrequencyC. Hz = one � ash pulse per second; • Hz = � ve � ash pulses per second

. Change total Quantity of light pulsesA. Press SEL button until Quantity of • light pulses blinksB. Press Right or Le� arrow button to • change QuantityC. = � ve total � ash pulses; = total • � ash pulses

. Set the ChannelA. Press SEL button until CH blinks• B. Press Right or Le� arrow button to • change Channel (, , , )

It takes great skill and imagination to use Repeating Flash Commander mode. It is not for the faint of heart!

Some Other Tips

Make sure the ambient light is very low or even nonexistent so that your subject is only exposed by the � ash. Also, try to make your backgrounds very dark in color. In other words, make your studio almost completely black. � e reason is that you typically want the entire scene to be lit up just by the � ash and not by any ambient light. Finally, position your subject far away from the background. � is will keep the � ash’s re� ected light from lighting up the background.


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Close-up Commander ModeUse Close-up Commander mode when you are doing mostly macro photography with SB-R � ashes. To access this mode, open up the battery cover and move the switch up to the top position (the � ower icon position). A� er you activate Close-up mode, you will notice a new � ower symbol on the SU-’s LCD panel (� gure .). Figure . shows a typical setup for Close-up Commander mode.

� e key advantage of this mode is that it allows you to set the Remote � ashes in terms of lighting ratios rather than the traditional power settings, such as +. EV or . EV. A ratio of : means that each side of the subject is equally illuminated. A : ratio means that one � ash is twice as bright as the other � ash (a one-stop di� erence). A : ratio means that one � ash is eight times as bright as the other (a three-stop di� erence). Table . shows the ratio values and the asso-ciated di� erence in stops.

Figure . - When the SU- is in Close-up Com-mander mode, a fl ower icon appears on the LCD panel

Figure . - This is how SB-R fl ashes are typi-cally set up for Close-up Commander mode

Lighting Ratios

Ratio Diff erence in Stops

:

:. .

:

: .

:

: .

:

Table .


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Figure . shows the e� ect of di� erent lighting ratios. Higher ratios produce more dramatic lighting. Typically, high ratios bring out texture and detail in subjects like wood grain and � owers. Lower ratios create a so� er look, as in portraits of children.

You don’t need to be in Close-up Commander mode to use SB-R � ashes, though. You can do close-up photography just � ne with the SU- set as a regu-lar Commander unit. In fact, this is how I do almost all of my photography. Like I said earlier, the key advantage of Close-up Commander mode is that you can use ratios to set � ash power rather than traditional +/- EV settings.

To change the settings for the Remote � ashes, press the SEL button to toggle between output level ratio, compensation (EV), and Channel. Once you select the output level ratio (it will blink), simply press the Le� or Right arrow button. Pushing the Le� arrow button will make the A � ash brighter. Pushing the Right arrow button will make the B � ash brighter. Notice that Close-up Commander mode allows you to adjust your two macro � ashes between : and : ratio settings.

Not only can you set the ratios between � ashes, you can also set the overall bright-ness level of the Remote system. In other words, you can cause all the Remote � ashes to be brighter or darker in equal amounts.

Let’s say you are photographing a � ower and are happy with the lighting ratio between the le� and right sides. But, if you want to increase the overall brightness, you can use an EV adjustment.

Figure . shows what the SU- LCD panel looks like when you increase the over-all brightness by +. EV. All this setting does is increase or decrease the amount of light the Remote � ashes send out based on a . EV shot. � e ratios between the A and B � ashes remain constant, but the overall brightness changes depending on the EV setting.

Figure . - Here, the SU- is in Close-up Com-mander mode with the A fl ash putting out twice as much light as the B fl ash. In addition, both fl ashes are putting out +. EV more light than a . EV shot of the same scene.

Figure . - The left photo was taken with a : ratio, the middle photo was :, and the right photo was :


77

If you don’t want to use the ratio calcula-tions in Close-up mode, you have the option of using Manual calculations for the Remote � ashes. Figure . shows what the screen looks like in Manual Close-up mode. Activate this screen by pressing the MODE button on the � ash. � e total range of adjustment for each of the Remote � ashes (A and B) is from / to / power.

Traditionally, you use just two � ashes in Close-up Commander mode: one for the right side and another for the le� side. � ese are Group A and Group B. However, Nikon

allows you to control a third remote � ash in this mode, Group C. Activate the third Group by pressing and holding the SEL button for about two seconds. When you do this, Group C shows up at the bottom of the LCD panel (� gure .).

Group C can only be adjusted as a Manual output � ash. It can’t be used as a TTL � ash, nor can it be included in the lighting ratio calculations that you used for the A and B � ashes. Typically, you would use the Group C � ash as a background or a backlight � ash.

To make changes to Group C, press the SEL button until Group C blinks, then press the Le� or Right arrow button to change the power output. � e available range is from / (full power) to /. To deactivate Group C, press SEL for two seconds and it will disap-pear from the LCD panel.

SB-R200 Buttons and Controls

I wish all of Nikon’s products were as easy to use as the SB-R � ashes. � eir operation is intuitive and simple. � e SB-R strobes can only be used as Remote � ashes (as op-posed to Dedicated or Commander � ashes) (� gure .).

Figure . - This is what the SU- screen looks like in Manual Close-up mode. Rather than adjust-ing the Remote fl ashes in ratios, you now adjust them in fractions of full power.

Figure . - When you are in Close-up Commander mode, press the SEL button for two seconds to acti-vate Group C at the bottom of the LCD panel

Figure . - SB-R Remote Flashes are simple to use and great for all kinds of photography. Most people use them for macro work, but they can be equally eff ective in portrait and landscape situa-tions if used properly.

SB-R Buttons and Controls

77

ON/OFF Button� is is used to power the � ash on or o� . With most other Nikon � ashes, the ON/OFF but-ton has multiple functions. However, with the SB-R, its only function is to turn the � ash on or o� .

Flash HeadUnlike other � ashes in the Nikon lineup, the SB-R � ash does not have a zoom function built into the � ash head.

Channel Select DialUse this dial to set the Channel for the � ash. Your choices are , , , or .

Group Select DialUse this dial to set the Group for the � ash. Your choices are A, B, or C.

Target Light (Focus Assist Illuminator)I use this light to make sure that the � ash is pointed correctly at my scene. Activate the Target Light by pressing the Target Light but-ton on top of the � ash (� gure .).

You can also use this light to help you focus the lens in dark environments. If you press the Target Light button once, the LED will stay on while you position the SB-R. Press the Target Light button again to turn o� the LED.

Mounting Foot� e mounting foot on the SB-R is com-pletely di� erent from all the other Nikon Speedlights. It will only � t into special mounts such as the AS- or the SX-. To insert it into one of the mounting plates, � ip the lock switch to the open position, place the foot into the plate, and � ip the lock switch to the locked position (� gures . and .).

Figure . - Notice the diff erence between the SB-R foot and the SB- foot

Figure . - The SB-R will only fi t in the AS- (left) or the SX- ring mount (right)

Figure . - The Target Light is a great tool to help you position the fl ash before shooting. It can also be used to light up the scene so you can focus the lens in a dark environment.


77

TTL Cord Terminal� e RC kit can be used wirelessly on CLS compatible cameras like the D, D, and D. It can also be used on older, non-CLS compatible � lm and digital cameras like the F, Ns, and D. You accomplish this by connecting the SB-R � ashes to the SU- via a special Nikon cable called the SC- (� gure .).

When the RC is con� gured with the SC- cable, you can use SB-R � ashes in TTL BL, TTL, or Manual modes as long as your camera supports those options. If you are using an older F, you will only be able to use Manual mode since that camera does not have a TTL � ash meter.

READY LightWhen the READY light is on, it means that the � ash’s capacitor is fully charged and ready to take the next picture (� gure .). A� er you take a photo, the READY light turns o� while the � ash recharges its ca-pacitor. Once the capacitor is recharged, the READY light turns on again.

One di� erence between the SB-R READY light and Nikon’s other � ashes is that it turns green when the capacitor is charging and red when the � ash is ready to � re. � is is the opposite of how most people think in terms of color codes. Most think that green means “go” and red means “stop”. I still get confused by the READY light colors on the SB-R.

Because the � ash does not have a battery level indicator, the READY light is the only way to really tell how much power remains in your batteries. Speci� cally, the longer it takes for the READY light to illuminate, the lower your battery life. If you � nd that it takes four to � ve seconds a� er each shot to recharge the � ash, then it is probably time to change your batteries.


Figure . - The TTL cord terminal is used to hook up SB-R fl ashes to the SU- Commander on older Nikon cameras

Using the SB-R as a Remote Flash

77

Light Sensor for Wireless Remote� is sensor is where all the communication takes place between the SB-R and the Commander � ash (� gure .). When you use the � ash as a Remote, be sure to point this window towards the Commander � ash so that it is in the direct line of sight.

� e window works best in the shade or in a dark room away from bright ambient light. I’ve had some problems making the system work in direct sun and assume the reason is because the Remote � ashes have a hard time distinguishing between � ash pulses and direct sun.

Using the SB-R200 as a Remote Flash

� e SB-R � ashes are fantastic units de-signed to work in close proximity to the sub-ject. Since Nikon designed them primarily for macro and close-up work, they aren’t very powerful and can’t really be used to light up an entire room.

To use the SB-R as a Remote � ash, you need some type of Commander to send instructions to it. � e Commander can be an SB-, SB-, SU-, or the pop-up � ash from a D, D, D, D, D, or D.

Con� guring the SB-R as a Remote is simple because there are no custom menus or other hidden setups. Just turn it on, set the Channel and Group, and start taking photo-graphs. Here are the steps:. Turn on � ash. Use dials to set Channel and Group . Con� rm that the red READY light is on. Set Commander � ash to same Channel

and Group. Take picture

Once you con� gure the � ash as a Remote unit, it takes all of its � ring instructions from the Commander unit. � ese instructions are broadcast via light pulses which the Remote receives through the Light Sensor on the back of the � ash (� gure .).

Make sure you point this sensor towards the Commander � ash. It is pretty sensitive, but there are times when communication fails because it literally can’t see the light.

When people � rst learn this system, one of the most common problems is forgetting to turn on the Commander � ash unit. I know it sounds obvious, but to � rst-time users, it is not intuitive. Remember, the Commander unit might be another SB-, an SB-, an SU-, or a pop-up � ash on your camera. Note: If the Commander is a pop-up � ash, be sure to pop it up!

Figure . - The Light Sensor for wireless TTL fl ash control is located on the back of the fl ash. Point this sensor towards the Commander fl ash.

Figure . - The Light Sensor Window for wireless fl ash operation


77

Using the R1C1 Kit

� e RC kit consists of a number of � ash toys packed in a big black carrying case. Fig-ure . shows the entire kit along with the carrying case. � e kit includes:

RC Kit Contents

Item Qty

SU- Commander

SB-R Remote � ashes

Lens mounting rings

SX- attachment ring

Color � lter set

IR panel for pop-up � ash

Close-up di� user for SB-R

AS- light stand for SB-R

Translucent di� user

Table .

Figure . - Here is the entire RC kit with all of the included hardware

Using the RC Kit

77

Using the AS- Mounting FootUsing Remote � ashes is always easier if you can mount them hands-free to some type of light stand. � e AS- Mounting Foot al-lows you to set the SB-R on the ground as a free-standing � ash, or mount it to a light stand/tripod (� gure .).

I like to travel as light as possible and o� en bring along a mini-tripod to hold my small Remote � ashes. Figure . shows a typical setup with the SB-R mounted to a Manfrotto mini-tripod. Figure . shows the back side of the AS- and the included /” x threaded socket (� gure .).

Figure . - Placing the SB-R on a mini-tripod is a cinch with the AS- Mounting Foot

Figure . - The AS- Mounting Foot can be at-tached to a light stand with the /” x threaded socket on the bottom side

Figure . - You can also use the AS- as its own stand to hold up the fl ash on a table, on the fl oor, or on the ground


77

Using the SX- Attachment RingAnother way to use your SB-R � ashes is to attach them to the front of the camera lens using the SX- (� gure .).

In addition to the SX-, Nikon ships � ve adapter rings in the RC kit that allow you to � t the SX- onto most lenses. Screw the adapter ring onto the front of the lens, then attach the SX- to the adapter ring. � e SX- allows you to attach up to eight SB-R � ashes around the perimeter, or you can also attach the Flexible Arm Clip. A couple of con� gurations are shown in � gure ..

Another neat feature of the SX- is that you can insert an AS- Speedlight Stand inside the SX- and then mount the whole kit to a light stand. � is allows you to mount several SB-R � ashes to the same light stand if necessary (� gure .).

Figure . - The SX- Attachment Ring allows you to mount the SB-R to the front of the camera lens

Figure . - Here are two ways to use the SX- At-tachment Ring with your camera

Figure . - You can insert the AS- Speedlight Stand inside the SX- Attachment Ring and then mount the whole kit to a light stand

Using the RC Kit

77

Using the Diff user and Flexible Arm ClipIn keeping with the intended use of the RC system, Nikon includes a small di� usion panel called the SW-. Its purpose is to so� -en the light on your close-up subjects. Figure . shows a couple of di� erent uses for this

panel. � e top photo shows the panel being used as a re� ector board, while the bottom photo shows an SB-R � ring through the panel.

� e SW-C Flexible Arm Clip can be used for all kinds of purposes in your

Figure . - The SW- can be used as a refl ector board (top) or a diff usion panel (bottom). It is held in place by the SW-C Flexible Arm Clip.


77

close-up system. Once attached to the SX- Attachment Ring, it can hold an SW- Di� user, an SB-R � ash, or even a branch so it doesn’t move in the wind (� gure .).

Using the SG-IR PanelAt � rst glance, the SG-IR seems like a gim-micky part that you won’t use much. However, I actually use it quite a bit when my pop-up � ash is the Commander unit. As I mention in chapter , the pop-up � ash can be a great tool when you need to travel light and want to con-trol Remote � ashes.

When you use the pop-up � ash as a Commander, it is generally a good idea to turn the built-in � ash o� (- - -) as shown in � gure .. Even when the built-in � ash is o� , it still causes a tiny bit of light to fall onto the scene. When you photograph people, you can o� en see a very small catch light in the subject’s eyes (� gure .). Purists work hard to get catch lights looking just right, so any other type of catch light can be a big distrac-tion in the � nal photograph.

� e solution to this problem is to use the SG-IR to block the visible light from your

Figure . - Even if you turn the built-in fl ash off , you can still get a tiny catch light in the subject’s eyes

Figure . - The solution is to use the SG-IR to block all visible light from the built-in fl ash while still allowing IR light to trigger your remote fl ashes

Figure . - The SW- can also be used to hold an SB-R fl ash or a branch

Figure . - When you use your camera’s pop-up fl ash as a Commander, be sure to turn off the built-in fl ash so it doesn’t contribute to the exposure

Using the RC Kit

77

built-in � ash. � is panel allows only IR (infrared) light to pass through so the built-in � ash can command the Remote � ashes. It is really a great tool, and I encourage you to use it in your photography (� gure .).

Using Gels with the SB-RNikon includes four color � lters in the RC kit that can be used for color correction or for creating dramatic lighting. Read chapter for more information on the proper use of gels in photography.

To insert gels into the SB-R, carefully remove the Color Filter Holder as shown in � gure .. Take a gel and insert it into the back side of the Color Filter Holder under-neath the tabs. � en click the Color Filter Holder back onto the SB-R and start taking photographs.

Using the Extreme Close-up AdapterWhen you photograph a tiny object that is very close to the camera lens, SB-R � ash-es have a hard time completely illuminating the subject. So Nikon includes the Extreme Close-up Adapter in the RC kit to provide better lighting coverage (� gure .).

To mount the Extreme Close-up Adapter to the SB-R, remove the Color Filter Holder and slide the adapter over the � ash head.

Figure . - The Color Filter Holder holds the gel in front of the SB-R

Figure . - The Extreme Close-up Adapter provides better light coverage when you take photographs of small subjects very close to the lens

Five-Step Plan for Great Flash Photography

88


Step : Set Camera Shutter Sync

88

OK, now that you have read through the previous chapters and fully understand � ash modes, camera modes, power settings, zoom, distance, etc., you now actually have to take a photograph: not just any photograph, but a great photograph. How do you put all this knowledge together? � e answer is the Five-Step Plan.

My goal is to make � ash photography as simple as possible. Since it can be very complicated and confusing, I made up a straightforward, � ve-step plan that I follow whenever I take � ash photos. � is plan is deceptively simple but will add years to your life just by reducing your frustration. Here it is in a nutshell. I’ll explain each step in more detail below.

I follow this plan for every � ash setup that I use. For example:. Pop-up � ash on camera. SB- mounted on camera as Dedicated

TTL BL � ash. Wireless TTL setup with SB- as Com-

mander and assorted SB-s and SB-s as Remotes

. Traditional studio lights such as Speedo-trons or Alien Bees synced with PC cables

. Network of SU- � ashes

Since the Five-Step Plan only deals with the � ash portion of the photo process, there are quite a few things le� out. For example, I did not include setting white balance (chap-ter ), ISO (chapter ), aperture (chapter ), or lighting stands (chapter ). I guess there really should be a Step Zero called “Set Up Everything Else” before you start the Five-Step Plan.

Here is the detailed information for each step in the plan.

Step 1: Set Camera Shutter Sync

Even though there are � ve shutter sync modes to choose from (Normal, Normal + Red-eye, Slow, Slow + Red-eye, Slow + Rear), I choose Normal or Slow + Rear for the vast majority of my photography. Chapter has more infor-mation on each shutter sync mode.. Normal (Front Curtain) (� gure .)

Use for studio lighting setup• Use for situations with no ambient light•

. Slow + Rear (� gure .)Use for travel/nature/outdoor � ll � ash• Use for subtle � ll � ash• Use for window portraits for subtle � ll • � ash

Five-Step Plan

Set Camera Shutter Sync. Set Flash Mode. Set Flash Power. Take Picture and Review Result. Change Settings as Needed and Shoot . Again

Figure . - Normal Sync

Figure . Slow + Rear Sync


88

Step 2: Set Flash Mode

� ere are many � ash modes to choose from on the SB-, SB-, and SB- strobes. Even so, I typically use only two for most of my photography.. TTL BL (� gure .)

Use for shooting quickly• Use for sports• Use for travel/nature/outdoor•

. Manual (� gure .)Use for accuracy (with hand-held light • meter)Use for consistency from shot to shot • (e.g., photographing for a church direc-tory or school classroom)Use for situations where TTL BL breaks • down (e.g., very high contrast scenes or di� cult lighting situations that confuse TTL BL)

Step 3: Set Flash Power

Setting � ash power can be a very subjective decision. Who’s to say a photo will look bet-ter if it is brighter or darker? Most of the time I want a “properly” exposed photograph, and that is what my camera tries to deliver in au-tomatic modes like TTL BL, TTL, and AA. Even so, sometimes I want the � ash output to be a bit darker or lighter than my camera would normally provide. � at’s why I make a � ash power decision before I take the � rst shot.

Here are some recommended starting points for � ash power. Remember that they are only recommendations, and your actual choices may vary.

Travel/Outdoor/Nature:• Set power from -. to -. for most scenes to provide a nice subtle � ll � ash.

Figure . - TTL BL mode on the SB-

Figure . - Manual mode on the SB-

Figure . - Flash output is set at / power on the SB-

Figure . - Power output is -/ of a stop

Step : Take Picture and Review Result

88

Portraits by a Window: • Set power from . to -. for most scenes. . means the � ash power approximately equals the am-bient window light, and -. means the � ash power is / of a stop below ambient light, therefore serving as a � ll � ash.Studio Portraits: • Set power for . for medium brightness subjects, +. to +. for brighter subjects, and -. to -. for darker subjectsEvent Photography (weddings, dances): • Set power anywhere from +. to -. de-pending on the sceneIn Manual mode: • Set power by working with a hand-held light meter to judge prop-er exposure (I like the Sekonic L-, www.sekonic.com)

Step 4: Take Picture and Review Result

One of the best things about digital pho-tography is the ability to quickly review the results on the camera’s LCD. A� er taking a � ash photograph, I typically check out two items. � e � rst is the Highlights screen to see if there are any blown highlights (� gure .). � e second is the Histogram screen to see where the overall exposure lies (� gure .).

On the histogram, I just make sure the tonality of the exposure is in the proper range. For example, if I take a picture of a bride in a white dress, then I expect to see a spike of data on the right side of the graph from the white dress. If I take a photo of a groom in a black tuxedo, then I expect to see a spike on the le� side of the graph. If I don’t see what I expect to see, then I need to shoot again with new settings.

Figure . - This is the Highlights screen. I look for blinking areas that indicate overexposure. This image was taken inside a Boeing C-, and I wanted to show how large the interior was. I had two young boys stand inside for a sense of scale. The picture was taken with a DX and an SB- mounted on the hot shoe. In addition, I used a diff usion dome to soften the light and spread it around the interior. Step : Slow + Rear. Step : TTL BL. Step : -/. Step : No blown highlights in the important areas. Step : No action needed.

Figure . - Just out of curiosity, I like to take a peek at the Histogram screen to check the overall brightness (tonality) of the scene. In this image, the picture is well within the dynamic range of the camera because there are no signifi cant blown highlights (right side) or lost shadows (left side).


88

Above are some common � ash mistakes and how to � x them (Table .).

Step 5: Change Settings as Needed and Shoot Again

� e last step is to make the changes outlined in Step Four, then retake the picture. Hope-fully, you are done � ddling and can move on to create great � ash photographs like these (see chapter for details about how each one was created):

Although I printed this table in chapter , it bears repeating now that you have read about the Five-Step Plan (Table .).

Common Flash Mistakes

Problem Solution

Subject too bright Dial down � ash power

Subject too dark Dial up � ash power, increase ISO, get � ash closer, open up

aperture, increase zoom setting

Highlights on the

subject’s forehead Dial down power, di� use the light, bounce light o� ceiling

Colors are o� Set white balance properly

Subject and background Maximum shutter sync speed is probably exceeded.

blown out (way too bright) Change camera aperture so shutter speed is lower

(e.g., / second for D; / second for D, D, D, D;

/ second for D, D) or change menus to enable

High Speed FP Sync (D, D, D, D, D, D).

Table .

Figure .

Step : Change Settings as Needed and Shoot Again

88


Shooting Camera Flash Flash Scenario Sync Mode Mode Power (Step ) (Step ) (Step ) Comments











Table .

Figure . Figure .

Wireless Flash Camera Capabilities

99 Wireless Flash Camera Capabilities

Using the D as a Commander

99I always run into lots of questions about camera and � ash compatibility. Most own-ers want to fully understand which cameras work with which � ashes, so I summarize the information here:

Using the D70 as a Commander

When you use the D pop-up � ash as a Commander (CSM ), it is always active and participating in the exposure. In other

How Different Cameras Work with Wireless Flashes

Camera Model Pop-up Flash When mounted with an SB-, SB- or SU- Commander (Master)

D/Ds Works as a Commander for one Works as a Commander for up to four

Channel and one Group (CH , Channels and three Groups per Channel

Group A). Access from CSM .

D, Dx, Does not work as a Works as a Commander for up to four

D, D Commander for the Nikon Channels and three Groups per Channel

wireless � ash system

D Works as a Commander for two Works as a Commander for up to four

Channels and three Groups per Channels and three Groups per Channel

Channel. Access from CSM .

D Works as a Commander for two Works as a Commander for up to four

Channels and three Groups per Channels and three Groups per Channel

Channel. Access from CSM e.

D, D, Works as a Commander for two Works as a Commander for up to four

D Channels and three Groups per Channels and three Groups per Channel

Channel. Access from CSM e.

D-series, � ese cameras do not have Works as a Commander for up to four

D-series pop-up � ashes, so they can Channels and three Groups per Channel

only control Remote � ashes with

an SB-, SB-, or SU-

mounted on the hot shoe

F � is camera does not have a Works as a Commander for up to four

pop-up � ash, so it can only Channels and three Groups per Channel

control remote � ashes with

an SB-, SB-, or SU-

mounted on the hot shoe

Other SLRs, Not compatible with the Not compatible with the

D, DX, Nikon wireless � ash system Nikon wireless � ash system

DH, F,

FM, Ns


99words, it � res during the � ash sequence just as it normally would if it were by itself.

Even though the pop-up � ash is pretty wimpy in Commander mode, you might be able to see its e� ect if your subject is close. But, if you are photographing a subject more than feet away, you might not be able to detect the pop-up � ash’s in� uence on the photograph. � e reason is that the pop-up sends out � ash pulses for the command information and then immediately � res for the real photograph. � e camera’s capacitor (which powers the � ash) is fairly small, and the D pop-up just plain runs out of energy (� gures . and .).

On the shots where you notice the D pop-up’s in� uence, you are probably pretty close to the subject (or using a higher ISO or wide aperture). I o� en notice the pop-up’s in� uence on portraits where the subject is standing close to a wall. In that situation, you can almost always see the shadow cast behind them by the pop-up � ash. On shots where you don’t notice the pop-up’s in� u-ence, you are probably farther away from the subject (or using a low ISO or small aperture).

From a technique standpoint, the clos-er your Remote � ash (SB-, SB-, SB-, or SB-R) is to the subject, the less in� uence your D pop-up has because the Remote becomes the dominant light source. � e D pop-up basically serves as a communicator for the Remote.

Using the D80, D90, D200, D300, or D700 as a Commander

� e operation of the D, D, D, D, and D is almost identical in pop-up Commander mode. � e only major di� er-ence is that you access the pop-up (built-in) � ash menus in di� erent locations on di� er-ent cameras. � e D menu is in CSM m, the D menu is in CSM e, and the D, D, and D menus are in CSM e. Ev-erything else is the same.

You can control each camera’s pop-up � ash power under the Custom Settings Menu (� gure .). In fact, you can even turn o� the pop-up during the exposure by selecting - - - (� gure .). � is is a great bene� t for pop-up users because it allows you to fully control the Remote � ashes while canceling the pop-up when the camera’s shutter is open. I give Nikon major kudos for this feature! In fact, I recommend shooting this way (i.e., selecting - - - for the built-in � ash) most of the time so your photographs don’t look like they were taken with a pop-up � ash.

Figure . - D CSM controls the pop-up fl ash

Figure . - You have three choices in D Com-mander mode: TTL = Through The Lens (normal pop-up fl ash mode); AA = Auto Aperture (pop-up fl ash instructs Remote fl ashes to be AA fl ashes); and M = Manual fl ash output (pop-up fl ash tells Remote fl ashes to put out a set amount of power, e.g., /).

Using the D, D, D, D, or D as a Commander

99

Figure . - The D and D built-in (pop-up) fl ash menus are in CSM e

Figure . - The next screen in CSM e lets you pick from four diff erent fl ash modes: TTL = Through The Lens (normal pop-up fl ash mode); Manual = Man-ual fl ash output (pop-up fl ash puts out as much light as you tell it to); RPT = Repeating Flash (you program the repeat rate and power for each fl ash pulse); and C = Commander (controls the other wireless Remote fl ashes in your system).

Figure . - The Commander mode screen is identical in the D, D, D, D, and D. Here the built-in (pop-up) fl ash is turned off . Even though it is off during the actual exposure, it still sends out light pulses to control all of the Remote fl ashes in the system.

Figure . - In this screen, the D, D, D, D, and D pop-up fl ashes work as Manual fl ashes and put out / power. Group A and B Re-mote fl ashes are programmed as TTL fl ashes at . (medium brightness). All fl ashes are “speaking” on Channel .


99

Figure . - The built-in (pop-up) fl ash is set for TTL mode and puts out enough light for a . (me-dium) exposure. Group A fl ashes put out -. and Group B fl ashes put out ..

Figure . - Here, the built-in (pop-up) fl ash is set for TTL mode at a fl ash compensation of -. stops. This means that the pop-up fl ash provides very subtle fi ll fl ash while the other fl ashes put out . EV (medium brightness).

Figure . - Here, Group A fl ashes are set to oper-ate in AA mode. This means that they won’t use the camera’s TTL Matrix Meter to calculate exposure. Rather, each fl ash calculates its own exposure au-tomatically. Only SB- and SB- fl ashes can be AA Remotes. SB- and SB-R fl ashes do not have that capability.

Figure . - Here, Group B fl ashes are set up as Manual strobes and put out / power. The built-in (pop-up) fl ash is a regular TTL fl ash at ., and the Group A fl ashes are TTL at +..

Using the D, D, D, D, or D as a Commander

99Here is an important note about your

camera’s pop-up � ash. Let’s say you con� g-ure the pop-up as a Commander unit and place an SB- or SB- on the camera’s hot shoe (� gure .). In this scenario, the big � ash takes over and disregards everything you program into the camera’s menu. For example, if you have the D pop-up � ash programmed as a Commander � ash but then place an SB- on the hot shoe as a TTL BL Dedicated � ash, the SB- takes over. � e

reason is that the D’s pop-up � ash is in the down position and isn’t operable.

An important item to remember about the D/D/D/D/D is that you can mount an SB-, SB-, or SU- on the camera as a Commander unit and control up to three di� erent Groups (A, B, C) on four di� erent Channels (, , , ). Also remem-ber that your camera’s pop-up � ash can only control two Groups (A and B).

Figure . - When you place an SB- or SB- on the camera’s hot shoe, it will override the camera’s pop-up fl ash settings in the Custom Settings Menus


99 Using the D40, D40x, D50, or D60 as a Commander

� ese cameras don’t have the ability to com-mand remote � ashes with their pop-up � ash-es. Still, they are compatible with the Nikon wireless system as long as you mount an SB-, SB-, or SU- as the Commander � ash. In this setup, they work exactly like the D, D, D, D, D, D, D, and F cameras when a Commander unit is attached. You can control three Groups (A, B, C) and four Channels (, , , ) from the back of the SB-, SB-, or SU-.

Using the D2-series or D3-series as a Commander

Nikon’s professional bodies like the D or D do not have pop-up � ashes, so they can-not control Remote � ashes unless you attach a Commander � ash unit such as the SB-, SB-, or SU- (� gure .). � ese cam-eras work exceptionally well in the wireless � ash system and yield superb results.

One of my favorite things about the D and D cameras is how quickly they control the entire wireless � ash system. It is truly a professional setup and speedier than Flash Gordon � ying Dr. Zarkov’s rocket ship. � e pre-� ashes happen so quickly that they are almost imperceptible.

When you use an SB-, SB-, or SU-, you have full control of the Nikon wireless system. You can command up to three Groups (A, B, C) and four Channels (, , , ).

Using the F6 as a Commander

� is camera does not have a pop-up � ash, so it cannot control other � ashes unless you mount a Commander � ash unit like the SB-, SB-, or the SU-. � e F is the on-ly Nikon � lm camera that allows you to take advantage of the CLS wireless � ash system.

Just like all of the other cameras compat-ible with CLS, the F allows you to control three Groups (A, B, C) and four Channels (, , , ). � e F is not only just as capable as the D or D, but also just as speedy as its digital counterparts.

Using the F as a Commander

99

Figure . - The SB- and the D or D—a match made in heaven!

Flash Beeps

1010

Flash Beeps

1010

� e beeps will set you free! Why do I have an entire chapter dedi-

cated to beeps? Because they are important! Speci� cally, it is important to listen to the beeps that come a� er the � ash sequence because they tell you how your Remote � ashes performed. When I set up my � ashes for wireless Remote photography, I keep the beeps turned on so I can audibly tell if they are working properly. (Note: the Custom Settings Menus sections in chapters , , and show how to turn on the beeps for the SB-, SB-, and SB-.)

� e only time the SB-, SB-, and SB- � ashes beep is when they are con� g-ured as Remote units. In other words, if you have an SB- mounted on your D as a regular Dedicated TTL BL � ash, it won’t beep. If, on the other hand, you con� gure the SB- as a Remote � ash, the beeps will be automatically activated.

Here is a summary of the beep sounds you will hear from the � ashes when you con� g-ure them as wireless Remotes: . Standard Beeps a. Two quick beeps and one long beep.

“Beep beep … beeeeeeep”In wireless TTL mode, this beep se-• quence means everything went well with no mistakes. � e � rst two beeps mean the � ash � red properly. � e third beep (the long one) means the capacitor is fully charged and ready to � re again. Note that the READY light illuminates a� er the long beep.

b. Single long beep. “Beeeeeep”� is beep sound occurs when the � ash • is in Manual Remote mode and you suc-cessfully trigger the � ash. It indicates the capacitor is fully charged and ready to � re again. � e READY light illumi-nates a� er this single long beep.

. Error Beeps a. Eight beeps in a row in rapid succession.

“Beep beep beep beep beep beep beep beep”

� is beep sequence means the � ash • � red, but it dumped of its energy for the photograph. You can assume that the shot is underexposed because the � ash did not have enough power to light up the scene (� gures ., ., and .). A� er the beeps, look at the upper right corner of the � ash’s LCD panel to see how far underexposed the shot was. If you miss the value (it disappears in a few seconds), you can recall it by follow-ing these steps:

. SB- - Press MODE and ZOOM buttons together

. SB- - Press MODE and SEL buttons together

. SB- – Press Function Button

Figure . - To recall an underexposure value on the SB-, press Function Button . The value shows in the upper right corner of the LCD. In this case, the fl ash is -. EV underexposed.

Flash Beeps

1010

� ere are a number of ways to � x this • error. Since it happens because the � ash didn’t have enough power to light up the scene, the goal is to get more light to the subject. Here are your options:

. Get the � ash closer to the subject . Take o� the di� usion dome . Increase the lens aperture

(e.g., shoot at f/. rather than f/) . Zoom the � ash head so it is more

telephoto (e.g., set it for mm rather than mm)

. Set the camera’s ISO to a higher value (e.g., change to ISO from ISO )

b. High/Low beep. “Beeep Bwooop Beeep Bwooop”

� is sequence generally means that you • have instructed the Remote � ash to op-erate in an incorrect mode (� gure .). For example, if you set the Commander � ash to tell an SB- Remote to oper-ate in AA mode, the SB- sounds a high-low beep error message because it can’t work in AA mode. Only an SB- or SB- can operate in wireless AA mode.

Figure . - To recall an underexposure value on the SB-, press the MODE and SEL buttons to-gether. The value shows in the upper right corner of the LCD. In this case, the fl ash is - EV underex-posed.

Figure . - To recall an underexposure value on the SB-, press the MODE and ZOOM buttons together. In this case, the fl ash is -. EV underex-posed.

1010

Figure . - If you confi gure Group B as an AA fl ash, but the fl ash is an SB-, you get a high/low beep as an error message. It sounds like “Beeep bwooop beeep bwooop.” Only SB- or SB- fl ashes can be confi gured as AA fl ashes.

Figure . - An SB- Remote fl ash does not have the ability to operate in AA mode. If you try, you get the high/low error beep.

White Balance and Gel Usage

1111


1111

White balance doesn’t have to be compli-cated. In fact, it is very simple once you boil it down to the basic elements.

� e goal of white balance is to � lter ambient light so that colors look natural. Generally speaking, if you take a photo of a white object, the proper white balance settings render it as white in the � nal photo. � e white object should not look either too blue or too red. Rather, it should appear white. Simple!

Since this book is about using Nikon CLS � ashes, you need to understand what color they are so you can learn to balance the colors in the overall scene. Nikon � ashes have a color temperature of about degrees Kelvin. Kelvin values can be a bit confusing, so let me try to clarify them (table .).

If you haven’t paid much attention to color temperature before, now is the time to do so. Color temperature refers to something called black body radiation. Scientists like to talk about things that glow in the dark, and they also like to characterize those things with sophisticated-sounding names. Let’s say we heat up a colorless mass, a.k.a. a black

body, to degrees Kelvin (for reference, molten lava is about K). At K, the black body gives o� a yellow/orange light. In contrast, at K, the black body gives o� a very blue light.

OK, let’s apply this knowledge to the real world. An incandescent light bulb—the same as the one in your living room—has a color temperature of about K and gives o� a yellow/orange color (table .). If you are standing outside on a cloudy, overcast day, the color temperature would be around K, and the light would have a bluish color. If you take photos of your daughter in these two situations without changing the white balance, you will probably be unhappy with the resulting color casts. For example, the photos you took in the incandescent light will have an orange cast, while the photos you took on the cloudy day will have a blue cast.

Modern cameras have the ability to balance the light so the resulting colors are neutral. In other words, you can balance the color of the light so that a white subject actually looks white in the � nal image. So, if your ambient light is blue because you are photographing on a cloudy day, add in some red to “neutralize” the blue. Conversely, if the ambient light is yellow/orange like an incandescent bulb, add in some blue to make the � nal colors neutral. Realize that I use the term “neutralize” loosely here, but the goal is to avoid photographs with strong color casts.

Now for the more complicated stu� : i.e., learning how to use the white balance tools properly. Most cameras have multiple ways to control white balance, ranging from simple to pretty complicated. � e controls are:. Automatic White Balance. Factory Preset White Balance. Custom (or Preset) White Balance. Kelvin Values

In the following sections, I cover each of these white balance methods in more detail.

Kelvin Color Temperature Scale

Type Color Temperatureof Light Source in Kelvin values

Candle Flame ,

Incandescent

Light Bulb ,

Sunrise, Sunset ,

Midday Sun or Flash ,

Bright Sun, Clear Sky ,

Cloudy Sky, Shade ,

Blue Sky ,

Table . - Kelvin color temperature scale


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Automatic White Balance

All digital cameras have some type of Auto-matic White Balance (Auto WB) control that allows you to “set it and forget it”. Auto WB (� gure .) uses the camera’s RGB Matrix metering system to look at the colors of the scene and then quickly calculate how to ad-just the � nal colors so white looks white.

� e trouble with Auto WB is that it chang-es its color correction for every picture you take. For example, let’s say you are taking photographs at a wedding. In one picture, the bride stands in front of a red wall. In the next picture, she stands in front of a blue wall. You mostly care about the color of the bride and her dress, and not so much about the color of the wall.

In each of these scenarios, the camera adjusts white balance based on all the colors in the scene. For the photo of the bride in front of the red wall, the camera adds a blue � lter, making the bride look blue (not a good thing). For the photo with the blue wall, the camera adds the opposite color, red. Neither scenario is good, and both require you to do color correction a� er the fact.

� e truth is, Auto WB is too variable for situations where you need consistency from shot to shot (� gure .). Many people recommend shooting in RAW (NEF) mode and adjusting white balance later at the computer. � at approach is � ne if you have just a few images to adjust, but what if you have hundreds or thousands a� er a trip or an assignment?

It makes sense to set the color white for a � xed value such as “Preset”, “Incandescent”, or “Kelvin” in the camera, right from the get-go. � at way, all your photos remain consis-tent and you don’t have to waste precious hours at the computer � xing white balance later. My strong recommendation is always to get the photos as close to perfect in the camera as possible.

� is leads us to the next level of white balance control: factory presets.

Figure . - This is Automatic White Balance (Auto WB) as shown on a D. This function is inconsis-tent from shot to shot and is a big frustration for JPEG shooters. Don’t shoot Auto WB if you need consistency.

Figure . - The images on the left were taken with a D using Auto WB. The images on the right were taken with a DX using Auto WB. In both cases, the colors vary signifi cantly from shot to shot. That doesn’t cut it in my book!

Factory Preset White Balance

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Factory Preset White Balance

Almost all Nikon digital cameras come with Factory Preset WB settings that cover most lighting scenarios you are likely to come across. � ese settings are:

Incandescent• Fluorescent• Direct Sun• Flash• Cloudy• Shade• Using these settings is very easy. If the

lighting for the scene is a � ash, set your

white balance for “Flash”. If the lighting for the scene is incandescent light, then choose “Incandescent”. It really is that simple. Set your white balance for the type of light in your shot.

I use these settings extensively on my camera and � nd them to be pretty accurate for much of my work. In the studio, setting the White Balance to “Flash” is sometimes all I need to get great colors.

Each of the Factory Presets can also be � ne tuned. Usually, you can accomplish this by pressing the White Balance button on the camera, then rotating the subcommand dial (the front dial). You will see numbers like - or + on the LCD panel of cameras like the D, D, or D-series. On newer Nikons like the D, D, D, and D, you will see values like A or B (� gures . and .). � ese values allow you to warm up the image by adding red or cool down the image by adding blue. � e concept is actually very simple:

WB Fine Tuning for D, D, D, or D-series

- adds red (warming)+ adds blue (cooling)

WB Fine Tuning for D, D, D, or D-series

A adds amber (warming)B adds blue (cooling)

Figure . - Each of the Factory Preset WB settings has its own picture icon. This one is Cloudy WB.

Figure . - The left image shows how to bias the Cloudy WB Factory Preset on the D to be a little bit warmer (redder) by going Cloudy -. The right image shows how to bias it to be a little bit cooler (bluer) by going Cloudy +.

Figure . - Here is what White Balance fi ne tun-ing looks like on the D. The A means that an amber fi lter has been added.


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If I am traveling and creating stock photo-graphs, I set the camera for Cloudy - or Cloudy + (� gures . and .). � is adds a bit of warmth and an extra hint of color to my images. If I am using a � ash, these settings can help warm up the shot.

Custom (or Preset) White Balance

� ere always comes a time in your pho-tography when “pretty accurate” isn’t good enough. For example, let’s say you need to photograph a product that has a certain color associated with it, or a famous actor for a magazine (happens all the time, right?). In these situations, you must make sure your white balance is as accurate as possible. � at’s when Custom (Preset) White Balance comes into play.

Note that this white balance setting has two names, Custom WB and Preset WB; they mean the same thing. On Nikon cameras, this function is referred to as PrE or Preset (� gure .).

All Nikon digital SLRs have the ability to collect a Custom WB reading by taking a “capture” of a white card or a gray card. You can use either white or gray because they are both neutral colors. When you point your camera at a white or gray card and take a preset white balance, you tell the camera to

Figure . - Here is a warmer shot at Cloudy - taken with a DX

Figure . - Here is a cooler shot at Cloudy + taken with a DX

Figure . - Custom WB is shown by the letters PrE on the camera’s LCD

Custom (or Preset) White Balance

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make color adjustments so the card turns out white or gray. � is is accomplished by following these steps:. Set camera white balance to PrE. Let go of WB button. Press WB button again until you see a

blinking PrE (� gure .). Aim camera at white or gray card . Press shutter release. Look for the word “Good” on the LCD

panel (� gure .). Take picture

When you capture a Custom WB, it is only good for photographs taken in the same lighting conditions. If you change the light-ing conditions, the Custom WB no longer gives you good colors, and you need to reset the Custom WB. � e Custom WB stays in your WB memory until you overwrite it with a new value.

When you photograph in a controlled lighting situation—e.g., your studio with SB- and SB- � ashes set up in umbrel-las—capture the Custom WB exactly as outlined above. Get your lights arranged, set up your Commander � ash to � re all the Remotes, place the gray card where your subject will be sitting, and then capture the Custom WB. It’s so simple and quick that there is no excuse for not doing it.

� ere are lots of times, though, when using Custom WB just isn’t practical. For example, it would be di� cult for a wildlife photographer to use Custom WB. Imagine some guy walking up to a lion, placing a gray card by its face, sauntering back to the Land Rover, capturing the Custom WB, walking back to the lion, walking back to the Land Rover, and then taking photos. It isn’t going to happen!

Fortunately, other tools allow you to do Custom WB in the � eld, such as Expo Disc (www.expodisc.com). Place this white trans-lucent disc in front of your lens to capture a Custom WB. � e di� erence is that you aim the disc at the light source rather than at a gray card.

So, use Custom WB when you have the time to do so or when it makes sense. Use the Factory Presets (cloudy, sunny, etc.) when you have to move quickly or when it isn’t practical to place a card in the scene, or pull out an Expo Disc.

� ere are some great products you can use to capture Custom WB. One of my favor-ites is the Lastolite EzyBalance gray target. � is is a well-designed unit that folds up for

Figure . - The WB button on the D. Push this button and rotate the camera’s main command dial until you see PrE.

Figure . - After you take the photo of the white or gray card, you should see the word “Good” on the camera’s LCD


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portability, but also expands nicely when unfurled (� gure .). � e EzyBalance card also has an autofocus target in the middle, making it easy to photograph with your AF system turned on.

If you ever � nd yourself without a gray target, then feel free to use a white piece of paper, a white bed sheet, or even a standard gray card (� gures . and .). Please recognize that if the item you use to capture Custom WB is not perfectly neutral in color, the WB will be o� .

Some photographers like to use WarmCards (� gure .). You can buy a set of these cards at www.vortexmedia.com. � eir purpose is to add some red to the scene when you set Custom WB. You use WarmCards exactly as you would use a standard gray or white card. � e end result is warmed-up skin tones and perhaps more pleasing photographs.

Figure . - A standard gray card will also work just fi ne to set Custom WB

Figure . - Using the Lastolite EzyBalance gray target is simple. Just place the target by your sub-ject, or have your subject hold it. Always point the target directly at the camera. Image © Lastolite, www.lastolite.com.

Figure . - You can use any white object to set Custom (Preset) WB. A piece of paper is often just what the doctor ordered.

Figure . - WarmCards are used in the same way as normal gray cards, but they bias the cam-era’s Preset WB so that the fi nal result is warmer (redder)

Kelvin Values

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Kelvin Values

Sometimes you just know what the white bal-ance is for a given environment. For exam-ple, let’s say you commonly photograph your son’s band concerts in the same auditorium every time. A� er a while, you notice that you get the best results when the white balance is set to K. If so, you can simply dial that

value into your camera (� gure .). You accomplish this by pressing the WB button and rotating the main command dial until the letter K shows up on the LCD panel.

It won’t take you long to start looking at light sources and quickly recognizing what K or K looks like.

Figure . - Setting WB for a scene based on Kelvin values can be tricky. If you know what the actual value should be, then you can use a higher Kelvin value to add warmth or a lower Kelvin value to cool it down. This shot was taken in direct sun, so the Kelvin value should be around K for accurate colors.

Figure . - This is what your camera’s LCD panel will look like when you set the Kelvin value for WB

NOTE

Note that not all Nikon DSLR cameras can choose actual Kelvin values. For example, the D, Dx, D, D, D, and Ds do not have that ability. � e D, D, D, D, D, D-series, and D-series do have that ability.


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Using Gels

Let’s say you are taking a Slow + Rear Sync � ash photograph in a room with mixed lighting. � e ambient light might consist of � uorescent ceiling lights. If you want to use your � ash, you must deal with two di� erent colors of light: � uorescent (K) from the overhead lights and � ash (K) from the strobe. How do you set the white balance for this scenario? Lots of people wimp out,

set the camera for Auto WB, and hope that Nikon � gured it out for them. But the best answer is to use gels to modify the color of the light from your � ash so it matches the color of the light in the room (� gures . and .).

As mentioned before, all light sources have di� erent colors associated with them. Flashes have a blue cast, incandescent bulbs have a yellow/orange cast, and most

Figure . - These are the diff erent types of gels in the SJ- gel pack that fi t with the SB-. Clock-wise from upper left: Red = Creative lighting gel. Blue = Creative lighting gel. FL-G = Color balance gel for fl uorescent lighting. Amber = Warming gel.

Figure . - The gels for the SB- are encod-ed with color information right on them. When you set Auto WB on the camera, it automatically changes the white balance so it coincides with the gel. You can purchase the SJ- gel pack complete with fl uorescent, tungsten, blue, red, amber, and yellow gels.

Figure . - SJ- gels fi t directly into the SB- or SB- fl ash head. Insert them below the wide angle diff usion panel. The gel shown is the tung-sten gel.

Using Gels

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� uorescent bulbs have a green cast. If you are taking a photograph in Slow + Rear Sync and the ambient light is tungsten at K, then you have a color mismatch. Your goal should be to make the � ash color (K) match the background color (K).

Nikon sells two di� erent types of gels designed to help solve color issues in the � eld. � e SB- and SB- use SJ- gels, while the SB- uses SJ- gels. You can purchase these gels at most high-end camera stores. � eir bene� t is that they are already cut to the correct size for your � ash. You can also use gels from other manufacturers, e.g., Bogen, Lee, and Roscolux, to accomplish the same thing.

Gels � t into the � ash as shown in � gure .. Just slide them underneath the wide angle di� usion panel.

Table . shows the di� erent types of gels included in the SJ- and SJ- packs.

Making the flash color match the color in your scene is actually pretty easy. Figures . and . show a real-world example of how gels allowed me to make a product shot that mixed ambient incandescent light with a flash.

Here are the steps:. Set camera WB for ambient light conditions

If ambient light is incandescent (tungsten), • then set camera WB for incandescentIf ambient light is � uorescent, then set • camera WB for � uorescent

. Insert colored gel into � ash (under wide angle di� usion panel)

Use TN gel for tungsten (incandescent)• Use FL gel for � uorescent•

. Take photo

SJ- and SJ- Gel Pack Contents

FL-G (� uorescent)

FL-G (� uorescent)

TN-A (Tungsten)

TN-A (Tungsten)

Blue

Yellow

Red

Amber

Table .

Figure . - This product shot for toy guitars shows how important it is to gel your fl ash. For this shot, I mixed an incandescent lamp with an SB- in the foreground. The fi rst image (left) shows the exposure with just the incandescent light. For this image, the camera’s WB is set to Incandescent. The second im-age (middle) shows what happens when I turn on the Remote SB- fl ash with no gel. The fl ash’s light is much bluer than the incandescent light, and you can see that here. The last shot (right) has the appropri-ate color balance. The SB- fl ash has an incandescent (tungsten) gel that matches the incandescent lamp. The camera’s WB is set for incandescent (tungsten). All the colors match, and life is good.


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Figure . - Here is the simple location setup I used for the product shot of the guitars. The umbrella on the left has a Remote SB- with a tungsten gel set for CH, Group A. The light stand on the right is a standard house lamp with a watt incandescent light bulb. The camera is a D set to Slow + Rear Sync at f/ and ISO . I used the D’s pop-up fl ash as the Commander unit.

Using Gels

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� e basis for all color correction is to make the � ash color the same as the ambi-ent light color. Simple. Well, actually, not so simple. You may have noticed that there are multiple hues of tungsten gels as well as multiple hues of � uorescent gels. � e reason is that not all light bulbs are created equal. For example, you can purchase � uorescent light bulbs that are balanced for K, K, or K. In order to get your colors

to match correctly, you might have to choose the FL-G gel instead of the FL-G gel.

� ere are many times when you want to be creative with your lighting and add interest-ing colors to the background. You can also use gels for this purpose. � e SJ- gel pack includes red, blue, yellow, and amber colors that you can use to creatively light the scene. Figures ., ., and . show some examples of creative gel usage.

Figure . - A red gel was placed on a Remote fl ash and pointed at the background. The main lights were not gelled, so the color on the face is natural. Camera WB was set to Flash. The Com-mander unit was an SB- mounted on top of the camera. The SB- key light on the left side was set for CH, Group A with TTL and +.. The SB- fi ll light on the right side was set for CH, Group B with TTL and +.. The SB- background light was set at CH, Group C with Manual Power at /. Camera exposure was set for Aperture Prior-ity f/., and fl ash shutter sync was set for Normal.

Figure . - A red gel was placed on a Remote fl ash and pointed at the background. The main light had a yellow gel (Why? I don’t know. We were playing with gels at a fl ash workshop). Camera WB was set to Flash. The camera was a D with a - mm lens. The Commander unit was the D pop-up fl ash. All of the remote fl ashes were set for CH, Group A. Camera exposure was set for Aperture Priority, and fl ash shutter sync was set for Normal.


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Using Gels with the SB-900

� e SB- has new technology that allows it to automatically detect the type of gel in-serted into the � ash head. Nikon does this by manufacturing the gels with built-in iden-ti� cation codes (� gure .). In order to fully use the new technology, you need one of Nikon’s newest professional level cameras; the D or D. Automatic gel detection and white balance control do not work on the D, D, D, DX, F, etc.

� e idea with the new gels is to allow you to set your camera to Automatic White Balance and let the camera do the color correction for you. For example, if you are shooting in � uorescent light, you add the � uorescent gel to the � ash. With the gel mounted, the camera and � ash together determine the color temperature of the scene and automatically correct the color cast of the subject. � e goal is to eliminate some of the confusion around color temperature and white balance.

Many professional photographers don’t feel comfortable leaving color balance deci-sions up to the camera’s auto white balance technology. I fall into this camp, but this new automated gel technology is compelling. Time will tell if it stands the test of profes-sional photographers.

Figure . - These three images show how gels can be used for creative product lighting. The Commander light was the pop-up fl ash on a D. The background light was a gelled SB-. Flash mode was Manual, power was /, CH, Group A. There were two foreground SB- lights behind white umbrellas set for TTL BL, +., CH, Group B. The camera’s pop-up fl ash was turned off (- - -). White balance was set for Custom (PrE) from a standard gray card. I captured the WB setting with the background gel fl ash turned off so it wouldn’t impact the color of the Custom WB. Camera expo-sure was set for Aperture Priority, and fl ash shutter sync was set for Normal.

Figure . - You can see the built-in identifi ca-tion codes on the bottom of the SB- gels

Using Gels with the SB-

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Here is how to use the new SB- gels on your D or D:. Fold the gel along the dotted line (� gure

.). Insert the gel into the plastic � lter holder

(� gure .). Snap the � lter holder onto the front of the

SB- (� gure .). Make sure the � ash acknowledges that the

new � lter is mounted by looking at the LCD panel (� gure .)

. Set camera to Auto WB or Flash WB (� g-ure .)

. Take picture

Figure . - Fold the gel along the dotted line

Figure . - Insert the gel into the plastic fi lter holder

Figure . - Check to see that the fl ash has ac-knowledged the gel

Figure . - Snap the fi lter holder onto the SB-

Figure . - Set camera to Auto WB or Flash WB

Batteries and Power Options

1212


When You Need More Capacity

1212

Battery technology has come a long way in the last few years, and we now have more op-tions than ever before to power our Nikon � ashes. My preference is to use rechargeable batteries since their cost is low and their performance is high. � e SB-, SB-, and SB- use AA cells, while the SU- and SB-R use CR- cells. I � nd that I can buy good quality AA rechargeables for around . per cell and CR- batteries for around . per cell.

Battery Choices for SB-600, SB-800, and SB-900

You can use any AA-type battery in your SB-, SB-, or SB-. Nikon speci� cally states that you can use the following AA bat-teries:

Alkaline• NiCd (Nickel Cadmium)• Lithium• Ni-MH (Nickel Metal Hydride)• I personally choose Ni-MH batteries for

a number of reasons. First of all, they don’t

have any memory e� ects like NiCd batter-ies. Second, they have great capacity. Finally, they are relatively inexpensive (� gure .).

My AA rechargeables tend to last for one to two years of regular use, and then I purchase new ones. At about . each, I get lots of life for my money.

When You Need More Capacity

� ere are times when it makes sense to in-crease your battery capacity. For example, when you photograph a sporting event or a wedding, you may need to take rapid-� re � ash shots. � e standard four AA batteries in the � ash just won’t keep up in fast shooting situations. In these scenarios, it makes sense to purchase a larger battery pack (� gures . and .). I recommend four models:. Nikon SD-A (www.nikonusa.com). Nikon SD- (www.nikonusa.com). Black Box (www.aljacobs.com). Tuxedo (www.aljacobs.com)

Figure . - I buy my batteries from Thomas Dis-tributing (www.thomas-distributing), eBay (www.ebay.com), or any other website where I can fi nd good deals. I recommend using mAh batter-ies or higher since they provide the most usage per charge. I labeled this group of batteries “C” (see text).

Figure . - The SD-A holds a total of six AA cells. This battery pack greatly reduces recycle time for your fl ash and allows you to shoot for longer periods of time.

Figure . - Al Jacobs’ Black Box battery pack (www.aljacobs.com)


1212

� ese larger battery packs dramati-cally decrease your � ash’s recycle time and allow you to take many more � ash photos per charge than straight AA cells. One of the bene� ts of these models is that they are speci� cally designed to recycle your � ash at a sustainable rate. In other words, their electrical current is low enough so you don’t have to worry about overheating your � ash and frying its circuitry. Some other brands of external � ash batteries have been known to completely toast the � ash’s circuits. You may get faster recycle times from the other brands, but you also risk ruining your � ash.

Battery Management

In my camera bag, I organize and label the batteries in groups. Once the batteries are labeled together, they stay together for the rest of their lives (figures . and .). I do this so I don’t mix up different battery types in the field. For example, one battery might be mAh and another might be

mAh. If these two batteries are mixed in the flash, the mAh battery will go dead first and start to reverse charge. This will cause the mAh battery to fail and soon become totally unusable (won’t take a charge). So, it makes sense to keep your bat-teries together as a group for the long haul.

Another thing I do is store all my batter-ies in the box pointed in the same direction if they are fully charged (� gure .). Once the batteries have discharged during use, I put them back into the box in alternating direc-tions. � is allows me to see quickly which box is charged and which box is dead when I am shooting at an event.

For charging my AA cells while traveling, I use a portable four-cell charger. Back at my o� ce, I have a larger eight-cell charger made by MAHA called the MH-CD (www.thomas-distributing.com). � e charging of each cell is independently controlled by a computer chip to provide the best results. However, most general battery chargers do just � ne and should have your batteries charged in a couple of hours (� gure .).

Figure . - I organize all of my AA batteries in groups so I don’t mix them up in the fi eld

Figure . - I keep my charged batteries pointed in the same direction. When they are dead, I alter-nate the direction so I can quickly see whether or not to use them.

Battery Choices for SU- andSB-R

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Battery Choices for SU-800 andSB-R200

� e SU- and SB-R use small CR- batteries for operation. Typically, these are Lithium ion and very high performance. If you purchase single-use Lithium ion batteries, they can be very pricey at around . each. � at’s a lot of money to throw away a� er each use.

Rather than go with the single-use CR- batteries, I buy RCR-A Lithium ion

rechargeables from Delkin Devices (www.delkin.com). � ey cost around . each, but they last for years of recharging. In addition, the Lithium battery technology makes the batteries very stable so they don’t slowly discharge over time. I also recom-mend purchasing the CR-s from � omas Distributing, where you can get the batter-ies and a recharging stand for a good price (www.thomas-distributing.com).

Figure . - The MAHA MH-CD battery charger (www.thomas-distributing.com)

Figure . - Delkin Devices’ eFilm Lithium ion rechargeable CR- batteries are a great fi t for the SU- and SB-R (www.delkin.com)

Camera-Based Functions for Your Flash

1313


FV Lock

1313

� is chapter covers the settings you can make in your Nikon SLR that a� ect � ash photogra-phy. Each of them is important to know, and many of them can help improve your photo-graphs. Let’s go through them one by one.

FV Lock

FV Lock stands for Flash Value Lock, a feature that allows you to set the � ash output value once and continue shooting while retaining the same � ash output. Nikon bills it as a way to set the exposure with the subject in the center of the frame, and then recompose the picture so the lighting is accurate when the person is o� -center (see graphic below).

I have found a di� erent use for FV Lock that helps prevent people’s eyes from clos-ing during the normal iTTL pre-� ash. Sometimes the pre-� ashes cause people to close their eyes before the real � ash (� gure .). When you push the FV Lock button (� gures . and .), the � ash � res a pre-� ash that the camera subsequently remem-bers. � en, you can continue shooting without the pre-� ashes.

Flash Value Lock

. Aim at subject, press FV Lock

. Recompose and shoot

Figure . - Sometimes Nikon pre-fl ashes cause your subjects to close their eyes. Use FV Lock to prevent this problem!

Figure . - Here is the FUNC button on the D

Figure . - Here is the AE-L/AF-L button on the D


1313To access the FV Lock button, go into your

camera’s Custom Settings Menus. Table . shows how to activate FV Lock for various Nikon cameras.

Here’s how to use the setting:. Turn on � ash. Aim camera at subject. Push FV Lock button (FUNC or AE-L/

AF-L button). � e � ash will � re once. � is is the pre-� ash.

. Recompose photograph as necessary. Take picture

You can continue taking pictures with this FV Lock setting, and the camera won’t perform any more pre-� ashes. If you want to cancel the FV Lock value, just press the FV Lock button again to clear the camera’s memory.


When you take photos in brighter light, you can exceed your camera’s maximum shutter synchronization speed. Every camera body has a maximum shutter sync speed, and the value di� ers depending on which model you own. For example, the D has a maximum shutter sync speed of / second, while the D has a maximum shutter sync speed of / second (table .).

While these shutter sync speeds are rela-tively fast (at least by historical standards), they do severely limit you when you want to use � ll � ash on bright, sunny days. Nikon has provided a way around this issue on its higher-end cameras called Auto FP High Speed Sync. � is mode allows you to have full TTL control of your � ashes at shutter speeds faster than Normal Sync speed (i.e., / second). � e D and D allow you to shoot at up to / second in Auto FP. � e only downside is that the � ash works at a lower power output, but I don’t see any reason not to use this setting.

FV Lock Button by Camera Model

Camera Model Camera Button to Activate How to Activate FV Lock

D, Dx, D N/A N/A

D AE-L/AF-L CSM

D AE-L/AF-L CSM

D FUNC CSM

D FUNC CSM f

D, D FUNC CSM f

D FUNC CSM f

D-series, D-series FUNC CSM f

F FUNC CSM f

Table .


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� e D, D, D, and D do not have the ability to activate Auto FP. It is only available on the D, D, D, D, D, D-series, D-series, and F. For those camera bodies, activate Auto FP High Speed Sync by going into the Custom Settings Menus and selecting Auto

FP. Table . shows how to activate Auto FP High Speed Sync for your camera.

Auto FP High Speed Sync is only active and available when you mount an external Dedicated � ash on your camera, such as an SB-, SB-, or SB-. � is is important

Figure . - On the D, D, D, D, and D cameras, change CSM e to add Auto FP High Speed Sync

How to Activate Auto FP High Speed Sync by Camera Model

Maximum Auto FP How to ActivateCamera Shutter Sync Speed High Speed Sync Auto FPModel (in seconds) Capability High Speed Sync

D / No N/A

D, Dx, D / No N/A

D / No N/A

D / Yes CSM

D / Yes CSM e

D / Yes CSM e

D, D / Yes CSM e

/ (with reduced GN)

D-series, / Yes CSM e

D-series

F / Yes CSM e

Table .

Figure . - Choose / second (Auto FP) for TTL photography at shutter speeds faster than / second. The D and D allow you to choose / second Auto FP as well.


1313

for D, D, D, D, and D owners because Auto FP High Speed Sync won’t work with the camera’s pop-up � ash. It also means that if you use the pop-up � ash as a Commander, the fastest sync speed available is / second (or / second on the D).

You can still use a � ash in Commander mode on the D, D, D, D, D, D, D, or F and utilize Auto FP High Speed Sync for the wireless Remote � ashes.

Flash Sync SpeedFlash Sync Speed represents the maximum, or fastest, shutter speed your camera will use in any � ash sync mode (� gure .). Most of the time, you want to set it either at the fast-est standard shutter speed, or for Auto FP High Speed Sync (as in the section above), to get even faster shutter speeds for sports pho-tography.

� e D, Dx, D, D, D, D, and D do not allow you to change this setting in the Custom Settings Menus. � e D, D, D, D, D, and F do allow you to make this change by setting CSM e. � e range of settings on these cameras for CSM e is from / second to / second, including Auto FP High Speed Sync (again, see previous section).

Figure . - Flash Sync Speed is normally the fast-est shutter speed that will synchronize with your fl ash

NOTE

One � nal note about this function: once you make the change in your camera’s Custom Set-tings Menus, your � ash shows a new FP icon on the LCD (� gures ., ., and .). � is is your indication that Auto FP High Speed Sync is active. You can now synchronize the TTL � ash up to shutter speeds of / sec-ond for those fast action photos!

Figure . - The new screen on the SB- after you select Auto FP



Flash Shutter Speed

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I recommend leaving this value set for Auto FP High Speed Sync for most of your photography, unless you have a speci� c reason to limit your shooting to a slower sync speed.

Flash Shutter Speed

Flash Shutter Speed represents the minimum (slowest) shutter speed your camera will use when it is set for Normal Sync mode (see chapter ). You might also refer to this as your “studio sync” speed.

For years, many studio photographers have synced at / second, which has become somewhat standard. However, some photographers like to sync at di� erent speeds. Some choose / second or / second to eliminate as much ambient light as possible. Other photographers like to sync at / second to “drag the shutter”, which lets in some ambient light.

� ere is no correct sync speed, but if you want an easy answer, I suggest you just leave the camera set to the default: / second. Table . shows how to access this screen on your camera, and � gure . shows an example screen shot of CSM e.

Flash Shutter Speed Settings by Camera Model

Camera Model CSM Setting (in camera menu)

D, Dx, D N/A (default is /

second)

D N/A (default is /

second)

D CSM

D CSM

D CSM e

D, D, D CSM e

D-series, CSM e

D-series

F CSM e

Table .

Figure . - CSM e defi nes what your slowest (longest) shutter speed will be when you shoot in Normal Sync mode. I typically leave all my cameras set to / second.


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Flash Off

� ere are many times when your � ash is mounted on your camera and you want to take a picture without the � ash � ring. Nor-mally, you just turn the � ash o� and then take the picture. Easy, right?

Well, it gets even easier: on the higher-end Nikons like the D, D, D, D, and D, you can program the FUNC button to temporarily deactivate the � ash while you are pressing it (� gure .). For example, at a wedding you might see a great photo of the bride that would look better in ambient light. It is much quicker to press the FUNC button to disable the � ash rather than reaching up to turn it o� . Really, it’s just a speed thing that helps you work more e� ciently. Table . shows how to program the FUNC button to cancel the � ash.

Figure . - This is the FUNC button on the DX. You can confi gure it to cancel the fl ash when an SB-, SB-, or SB- is attached.

How to Activate Flash Off by Camera Model

Camera Button to Activate CSM SettingModel Flash Off (in camera menu)

D, Dx, D, D, D N/A N/A

D FUNC CSM

D FUNC CSM f

D, D FUNC CSM f

D FUNC CSM f

D-series, D-series FUNC CSM f

F FUNC CSM f

Table .

Modeling Light with DOF Preview Button

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Modeling Light with DOF Preview Button

As you already know (because you read this entire book from start to � nish!), the SB- and SB- activate a Modeling Light when you push the Modeling Light button on the back of the � ash.

� e higher-end Nikon SLRs also allow you to activate the Modeling Light by pressing the Depth of Focus (DOF) Preview button. � is works with an SB-, SB-, or SB- mounted on the camera. Also, press-ing the DOF Preview button activates all of the wireless � ashes together (� gure .).

To activate the Modeling Light function, you must go into your camera’s Custom Settings Menus and turn it on (table .).

Figure . - Pressing the DOF Preview button on the D, D, D, D, D, D, D, or F ac-tivates the fl ash’s Modeling Light

How to Activate Modeling Light by Camera Model

Camera Button to Activate CSM SettingModel Modeling Light (in camera menu)

D, Dx, D, D, D N/A N/A

D DOF Preview CSM

D DOF Preview CSM e

D, D, D DOF Preview CSM e

D-series DOF Preview CSM e

D-series DOF Preview CSM e

F DOF Preview CSM e

Table .


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Flash Bracketing

I’m not talking about using a bracket to hold the � ash; I’m talking about bracketing your � ash exposures by using the camera’s auto-matic bracketing capability. Each of the mod-ern Nikon cameras has an auto bracketing function. Turn it on by pressing the Bracket (BKT) button on the top of your camera and rotating the command dials (� gures ., ., .).

Before you use the bracketing function, you need to set up your camera so it brackets according to your wishes. Table . shows how to do this.

Figure . - D BKT button

Figure . - D BKT button

Figure . - D or D BKT button

How to Activate Flash Bracketing by Camera Model

Camera CSM SettingModel (in camera menu)

D, Dx, D N/A (camera does not

support bracketing)

D, D CSM

D CSM

D CSM e

D, D, D CSM e

D-series, CSM e

D-series

F CSM e

Table .

Flash Bracketing

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Note that you can choose from these bracketing settings:

AE & Flash• AE Only• Flash Only• WB Bracketing•

Most of the time when you bracket, you will use Exposure Bracketing, called AE Only (� gure .). In other words, you vary the shutter speed or aperture to generate a series of shots that are darker, medium, and brighter.

Figure . - CSM on the D

Figure . - This is an Exposure Bracketing (AE Only) sequence. The top picture was taken at f/., / second; the picture in the middle was taken at f/., / second; and the bottom picture was taken at f/., / second.

Figure . - CSM e on the DX. Choose Flash Only to bracket just the fl ash output. AE Only keeps fl ash output constant but changes your shutter speed for each picture, as shown in fi gure ..


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In addition to Exposure Bracketing, you can also bracket (vary) the output of the � ash for di� erent photographs. If you set bracketing for Flash Only, then each photograph you take will have a di� erent brightness of � ash, but the base exposure (shutter speed and aperture) will remain constant throughout the sequence. Figure . shows this sequence. If you choose AE & Flash, the camera will vary the exposure (shutter speed and aperture) as well as the � ash output.

Invariably, the question arises: How should I set bracketing up for real-world shooting? My answer is you typically won’t use � ash bracketing for real-world shooting unless your subject is very still. Flash bracketing only makes sense when you have a studio arrange-ment or when you have a macro photogra-phy arrangement with everything attached to tripods and light stands. � is is important because you don’t want your subject moving around between shots.

Figure . - Here is a fl ash bracketing sequence. The photo at the top was taken at -.; the middle photo was taken at .; and the bottom photo was taken at +.. The setup used a D with SB- and SB- wireless remote fl ashes mounted on light stands and -inch umbrellas. The bracketing values were programmed in the D Commander fl ash at CSM e.

Case Studies and Examples

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� e goal of this chapter is to help you under-stand how to put together everything you’ve learned about � ash photography in some common shooting scenarios.

From a philosophical standpoint, you should generally endeavor to make your � ash photography subtle, so� , and gentle. Flash photography o� en turns o� new photog-raphers because they get poor results. At least once a week, a photographer makes a comment to me such as, “I don’t like to use � ash photography because it washes out my daughter’s face”, or “I get a shadow behind Grandma’s head”.

� e truth is, there are both good and bad ways to use � ash. Most of the bad ways involve on-camera � ash. Most of the good ways involve getting the � ash o� the camera and di� using the light.

� is chapter shows you a number of real-world examples using � ash photography. I describe how each shot was taken, breaking it down to its individual elements so you can understand everything that went into each image. I cover on-camera � ash, o� -camera � ash, remote � ash, and even pop-up � ash. Here goes!


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Event Photography: On-Camera Flash Combined with Ambient Window Light

Event photography can include weddings, family reunions, high school dances, or golf tournaments. At these events, you typically want a fairly lightweight, portable setup so you can mingle with the crowd to get shots of the action.

In general, I recommend using a � ash bracket to get some separation between the camera and the strobe. However, there are many times when you have to settle for mounting the � ash on the camera’s hot shoe. When this situation arises, use a di� usion dome or a bounce card, or try bouncing the � ash o� the ceiling or wall. Also, if there is window light, you can blend your � ash with the ambient light to get very nice results.

� e image in � gure . was taken at a wedding with a DX and Dedicated SB- mounted directly on the camera. I used a di� usion dome and pointed the � ash head up toward the ceiling. I set the � ash for TTL BL and dialed the power way down to about -. so the � ll was very subtle. Also, I made sure to rotate the camera so the � ash was on the le� side of the image, to � ll in the shaded side of her face.

I set the camera for Aperture priority and Slow + Rear Sync to allow for a mix of ambi-ent light and � ash. In addition, I set the ISO to for faster shutter speed so I could hand-hold the camera.

Setup DetailsCamera: DX• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/.• Sync: Slow + Rear• Flash: SB-• Flash Mode: TTL BL• Flash Comp: -.• Accessories: Di� usion dome• Image Quality: JPEG Fine Large•

Figure .

Event Photography: Single Flash on Flash Bracket in Low Light Situations

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Event Photography: Single Flash on Flash Bracket in Low Light Situations

Unfortunately, quite a few public events take place in dark rooms. I run into this situation when I photograph birthday parties, Christ-mas dinners, and most weddings. In these scenarios, there isn’t much ambient light, and I am le� using just my � ash. I really like to utilize a � ash bracket to get adequate height separation between the � ash and the lens.

To make the shot in � gure ., I used a Stroboframe Quick Flip � ash bracket and an SB- � ash. Since it is a vertical shot, I rotated the bracket so the � ash was above the camera. I also had a di� usion dome attached to the SB- to so� en the light. I decided not to bounce the � ash o� the ceiling since it was about feet high and yellowish in color. Instead, I aimed the di� usion dome directly at the bride. (If I had bounced the � ash o� the ceiling, the images would have been too yellow.)

Also, since the ambient light was so low, I was concerned about a long shutter speed. To remedy this, I changed the shutter sync to Normal, which defaults the shutter speed to / second. I had the bride pretend to throw the bouquet and took the shot.

� is shot also demonstrates that you can get very nice results even at ISO . Don’t be afraid to use higher ISOs in order to get your shot.

Setup DetailsCamera: DX• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Flash• Lens: - mm f/-.• Sync: Normal• Flash: SB-• Flash Mode: TTL BL• Flash Comp: .• Accessories: Di� usion dome, SC- TTL • cord, Stroboframe Quick Flip � ash bracketImage Quality: JPEG Fine Large•

Figure .


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Travel Photography: Single Dedicated Flash on TTL Cable

Overcast days are a photographer’s best friend when it comes to outdoor photogra-phy because they provide nice, low contrast lighting. However, this lighting can fre-quently result in dark eye sockets when pho-tographing people. To avoid this problem, it helps to use some type of � ll � ash.

� e photo in � gure . was taken at a pumpkin patch on a cloudy day in October. I used a D with an SB- � ash attached to an SC- TTL cord. In order to provide a little bit of � ll light I hand-held the � ash above my head and o� to the le� . � e � ash mode was TTL BL and the power was set to -., so the � ash was subtle.

Holding the � ash up high makes any resulting shadow fall behind and below the subject. Even in bright situations like this, you can sometimes see the shadow in the background, so I like to do as much as I can to eliminate it.

I used a white balance of Cloudy - to add some warmth to the cool blue light from the overcast sky.

Since the D has a very fast shutter sync speed of / second, I could shoot the image at / second and not worry about blowing out the image with the � ash. Other cameras like the D and DX need to be con� gured for Auto FP High Speed Sync (CSM e) to shoot faster than / second with � ash.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/-.• Sync: Slow + Rear• Flash: SB-• Flash Mode: TTL BL• Flash Comp: -.• Accessories: Sto-Fen di� usion dome, SC-• TTL cordImage Quality: JPEG Fine Large•

Figure .


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I like to take many of my travel photos a� er sunset. About - minutes a� er the sun drops below the horizon, the sky turns a deep blue color and provides a perfect backdrop for silhouettes.

I also like to travel as light as possible, so I don’t generally take much lighting equip-ment with me on the road. My bag is usually loaded with one or two cameras, three lenses, and one or two � ashes.

� e image in � gure . was taken in Ft. Lauderdale, Florida with a DX and a Dedicated SB- � ash. I attached the � ash to an SC- TTL cord and held it with my right hand as high as possible above the grass. I used my le� hand to trip the shutter.

With a - mm lens mounted, I set the camera down in the grass and started � ring away. Because I couldn’t look through the view� nder, I had to guess on the composi-tion for each image. I took a number of shots before everything came together in terms of the level horizon, the trees, and the appropri-ate exposure.

� e � ash was set to TTL BL and -.. I kept the � ash power a little bit high because I wanted some of the light to fall on the closest palm tree.

Setup DetailsCamera: DX• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/• Sync: Slow + Rear• Flash: SB-• Flash Mode: TTL BL• Flash Comp: -.• Accessories: Di� usion dome, SC- TTL • cordImage Quality: NEF (RAW)•

Figure .


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Travel Photography: D200 Commander and SB-800 Wireless Remote

Shots like the one in � gure . are actually pretty complicated. � e reason is because there is such a wide contrast range, in this case between the white clouds and the dark shadows under the shark. I wanted to � ll in the shadows with � ll � ash. If I let the camera do all the thinking for the exposure and � ash output, it would have underexposed this image and I would have had to bring it into Photoshop for post-processing.

To make this shot, I set up the D’s pop-up � ash as a Commander unit (CSM e). � en, I used an SB- as a TTL Remote unit and dialed down the power to -. by using the D’s CSM e.

In addition, I increased the camera’s expo-sure compensation to +., which increased the amount of ambient light coming into the camera. I did this in order to make the clouds appear bright white. � is is an important step, because the TTL system on cameras tends to make bright white scenes come out a bit underexposed.

To summarize, I used � ash compensation at -. to provide a nice � ll � ash for the shadows, and camera exposure compensation at +. to make the clouds and building bright white.

Use this same approach for photographing bright snow or sunny beaches.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/• Sync: Slow + Rear• Flash: SB-• Flash Mode: TTL BL• Flash Comp: -.• Camera Exposure Comp: +.• Accessories: Di� usion dome, SC- TTL • cordImage Quality: JPEG Fine Large•

Figure .

Residential Scene: Commander and Remote

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Residential Scene: Commander and Remote

I wanted to get this high contrast residential scene to fall into the dynamic range (bright-ness range) of the DX image sensor. Since the � owers in the foreground were in the shade of a tree, I knew � ll � ash would be re-quired to get a usable shot.

I mounted an SB- as a Commander on the DX and then hand-held a Remote SB- up high and to the le� . � e Commander unit was set for - - - (O� ) so that it wouldn’t contribute to the � nal exposure.

I also wanted to keep some good detail in the clouds, so I underexposed the ambi-ent light a little bit. Normally, I would set the exposure (shutter speed and aperture) so the clouds were exposed at +. stops, but in this case I held them at about + so they were a bit dark. I set the � ash compensation at -. so it wouldn’t blow out the details in the red tulips.

Since this type of shot needs maximum depth of � eld, I would normally set the aper-ture for f/. However, the wind was blowing and I didn’t want to risk any motion blur in the � owers, so I set the aperture for f/ in order to get a / second shutter speed.

Setup DetailsCamera: DX• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/• Sync: Slow + Rear• Commander Flash: SB- set to - - -• Remote Flash: SB- set to TTL BL, -.• Camera Exposure Comp: +.• Accessories: Di� usion dome• Image Quality: NEF (RAW)•

Figure .


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Outdoor Portrait: Pop-up Flash

As much as I dislike using the pop-up � ash for my photos, there are times when cir-cumstances demand it. I was at a wedding doing video work for a family member and wasn’t the hired photographer. My wife was there taking general photos with a D and didn’t have an SB- or SB-, so she took the image shown in � gure . with just the D’s pop-up � ash.

� e � ower girl was looking very pretty that day, but the sun was out and it was about : noon. So, my wife took the � ower girl underneath a large tree for some so� shade light. � en, she set the D sync to Slow + Red-eye and used the pop-up � ash at -. output. � is was done so that the pop-up � ash power would be very low and the result-ing photograph would show just a hint of � ll � ash. � is is the key to using the pop-up � ash: dial the power way down.

� e result is a very nicely exposed image, and the � ash is very subtle.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Auto• Lens: - mm f/-.• Sync: Slow + Red-eye• Flash: D pop-up• Flash Mode: TTL• Flash Comp: -.• Camera Exposure Comp: +.• Accessories: None• Image Quality: JPEG Fine Large•

Figure .

Outdoor Portrait: Single Flash as Remote, D as Commander

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Outdoor Portrait: Single Flash as Remote, D200 as Commander

You can take great portraits with just one Remote � ash o� -camera. In this situation (� gure .), I had the subject stand partially underneath a tree to provide nice, so� light. I then used an SB- Remote � ash powered at -. to provide a little bit of � ll for the eyes. � e Commander unit was a D and I set the pop-up � ash to - - - so that it wouldn’t � re during the actual exposure.

I used Slow + Rear for the shutter sync just in case there was any motion blur (if there was, it would have blurred to the rear of the motion, which looks natural).

As always, I used a di� usion dome on the hand-held SB- to so� en the light. I also used Cloudy - for my white balance so that the subjects would look nice and warm.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Cloudy -• Lens: - mm f/.• Sync: Slow + Rear• Flash: D Commander and SB- Re-• moteFlash Mode: TTL• Flash Comp: -.• Camera Exposure Comp: .• Accessories: Di� usion dome mounted to • SB- RemoteImage Quality: JPEG Fine Large•

Figure .


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Outdoor Portrait: One Commander, Multiple Remotes

� e great thing about Nikon’s Creative Light-ing System is how easy it is to quickly set up a photograph. � e image at right was taken outdoors with three Remote Speedlights: a key light on the right, a � ll light on the le� , and a hair light in the background.

� is image (� gure .) was taken with a DX, an SB- Commander, and three wire-less Remote � ashes. I used Manual exposure and set the ambient light exposure to / at f/. � is e� ectively darkened the background trees so they were about . stops below a medium exposure (.). I did this to make the subject have good separation from the background.

� en, I added the � ashes. � e key light (� ash on the right) was set at TTL + .. � e � ll light (� ash on the le� ) was set to TTL +.. � e hair light (� ash in back) was set to M /.

I placed a twig on the ground where I wanted my young model to stand and then went about taking pictures. Total time for setup, photos, and takedown was about minutes. � at’s fantastic!

Setup DetailsCamera: DX• Exposure Mode: Manual• Meter Mode: Matrix• Aperture: • Shutter Speed: / second• ISO: • White Balance: Cloudy• Lens: - mm f/-.• Sync: Slow• Commander Flash: SB- set to - - -• Key light (right): SB- TTL +.• Fill light (le� ): SB- TTL +.• Hair light (back): SB- M /• Accessories: three light stands, two -• inch umbrellasImage Quality: JPEG Fine Large•

Figure .

Figure .

Indoor Portrait: Single Commander on Cable and Single Flash as Remote

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Indoor Portrait: Single Commander on Cable and Single Flash as Remote

If you ever decide to add an additional � ash to your kit, then I highly recommend pur-chasing a TTL cable as well. A TTL cable al-lows you to place the Commander � ash in an umbrella and then use the second � ash as a wireless Remote in its own umbrella.

� is image (� gure .) was a Christmas portrait of the young lady for her mother. I set up a short stool about six feet away from my background (a white bed sheet). � e lights I used for this were the SB- and the SB-. � e SB- Commander was connected to my D with an SC- TTL cable and then mount-ed on a light stand with a -inch umbrella. � e SB- remote was positioned to the le� side on a light stand behind an umbrella. I also used a -inch gold re� ector on the lower le� (you can see the third catch light in the girl’s eyes).

I set all the � ashes for Manual output so the TTL system wouldn’t be confused by the bright white portion of her dress.

� e photo at the lower right shows this setup without the umbrellas.

Setup DetailsCamera: D• Exposure Mode: Manual• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Custom (using a gray card)• Lens: - mm f/-.• Sync: Normal• Flash: SB- Commander on cable, • Manual / powerFlash : SB- Wireless Remote, / +.• Accessories: Two -inch umbrellas, SC-• TTL cord, two light stands, -inch gold re� ectorBackground: White queen-sized bed sheet • duct taped to wallImage Quality: JPEG Fine Large•

Figure .

Figure ..


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Indoor Portrait: Commander and Multiple Remotes

Here is a portrait that utilized a total of four Speedlights. � e image was taken at a hotel, and the background was a white wall. � e subject was positioned about six feet away from the wall.

� e image was captured with a D with an SB- Commander � ash mounted on the camera’s hot shoe. I wanted to have a little bit more drama in terms of light and shadow, so I dialed the � ll � ash on the right (Group B) down pretty low.

Flash (Group A) was positioned to the le� side and was set as a TTL unit at +.. It was mounted on a light stand and shot through a -inch umbrella.

Flash (Group B) was positioned to the right side as TTL -.. I intentionally dialed the power down to create a nice shadow e� ect on the side of his face. It was mounted on a light stand and shot through a -inch umbrella.

Flash (Group C) was set on a stand at / power and pointed at the background. I used a red gel to turn the white wall a bril-liant red.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Flash• Lens: - mm f/.• Sync: Normal• Commander Flash: SB- set to - - -• Remote Flash , le� side: Group A, SB-• , TTL, +.Remote Flash , right side: Group B, SB- • , TTL, -.Remote Flash , background: Group C, • SB-, Manual, /Camera Exposure Comp: .• Accessories: � ree light stands, two -• inch umbrellas for the key and � ll � ashes, red gel for the background SB-Image Quality: JPEG Fine Large•

Figure .

Product Shot: Multiple Remote Flashes

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Product Shot: Multiple Remote Flashes

I like tools. � is is an old belt sander that my father gave me many years ago (� gure .). It makes a great industrial product shot.

I used four � ashes for this shot: an SB- Commander on my D set for - - -; an SB- Remote on the le� side set for Manual; an SB- Remote on right side set for Manual; and an SB- Remote in the back set for Manual with a blue gel.

� e two front � ashes were set up behind umbrellas and positioned on light stands. I added a blue gel for the rear � ash and attached it to a plastic clamp that I modi� ed with threaded bolts (see chapter ).

Setup DetailsCamera: D• Exposure Mode: Manual• Meter Mode: Matrix• Aperture: f/• Shutter Speed: / second• ISO: • White Balance: Flash• Lens: - mm f/-.• Sync: Normal• Commander Flash: SB- set to - - -• Remote Flash , le� side: Group A, SB-• , Manual, / +.Remote Flash , right side: Group B, SB-• , Manual, / +.Remote Flash , background: Group C, • SB-, Manual, / -.Camera Exposure Comp: .• Accessories: two light stands, two -inch • umbrellas, one plastic clamp, blue gel for the background SB-Image Quality: NEF (RAW)•

Figure .


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Macro Photography: Two Remotes, D200 as Commander

Using Nikon’s wireless � ashes for macro work is a dream come true. Setting up the � ashes is quick, and changing the power ra-tios on each is simple.

� e D pop-up � ash can be con� gured as a Commander unit and can control two Remote groups. I made these adjustments at CSM e.

In this image of a � ower, I placed an SB- Remote on a Bogen Superclamp and attached it to my tripod leg. On the other side, I placed an SB- Remote on a small travel tripod. I programmed the SB- as a TTL � ash at . and the SB- as a TTL � ash at -.. Both remote � ashes had di� usion domes. I set the D pop-up Commander for - - - and hand-held the camera during the shot.

Setup DetailsCamera: D• Exposure Mode: Aperture Priority• Meter Mode: Matrix• Aperture: f/.• Shutter Speed: / second• ISO: • White Balance: Flash• Lens: - mm f/-.• Sync: Normal• Commander Flash: D set to - - -• Remote Flash , le� side: Group A, SB-• , TTL, +.Remote Flash , right side: Group B, SB-• , TTL, -.Camera Exposure Comp: .• Accessories: Bogen Superclamp, two • di� usion domes, small table-top tripodImage Quality: NEF (RAW)•

Figure .

Figure .

Lighting Kit and Product Recommendations

1515


Kit Recommendations

1515

Here are some simple kit recommendations for those who want to put together a lighting system. � is page summarizes each kit, and the next few pages show which products I recommend (and use).

Kit Recommendations

Economy Kit � ash (SB-)• stand ( feet)• umbrella• umbrella bracket•

Lightweight Location Kit � ashes (SB- plus an SB- or SB-• ) stands ( feet)• umbrellas ( inches)• gold/white re� ector ( inches)• umbrella brackets•

Lightweight Event Photography Kit � ash (SB- or SB-)• TTL cable (SC- or SC-)• � ash bracket (Stroboframe Quick Flip)• umbrella bracket• umbrella ( inches)• battery pack (Al Jacobs Black Box or • Nikon SD-)

Home Studio Kit backdrop stand• Commander � ash (SU-)• � ashes for key, � ll, background/hair (SB-• , SB-, or SB-) umbrellas ( inches or larger)• light box• gold/white re� ector ( inches or larger)• umbrella brackets•


1515

Product Recommendations

Light StandsEight-foot stands are the minimum size to buy for general use. However, even these will be too short for big events and some wedding photography. To take photographs like � gure . you really need at least -foot stands. I recommend Bogen aluminum light stands, such as their Model (� gure ., www.bogenimaging.us). � ey are relatively light-weight and also pretty durable. You can buy them at most camera stores for around .

Figure . - For this group shot I needed to get my umbrellas and SB- fl ashes up as high as possible. The tallest person’s head on the top step was about feet above the fl oor where I was standing. I used a -foot stand to make the shadows fall behind and below the subjects.

Figure . - The Bogen Model is a great -foot light stand for the money


1515Umbrellas� irty-two-inch umbrellas are a great size for travel (� gure .). I can � t two -inch umbrellas in standard rolling luggage. If you are putting together a home studio, I recom-mend buying -inch umbrellas or larger. Whenever you want to di� use the light from a � ash, larger is better if you can a� ord it. � e umbrella brands I use are from Westcott (www.� westcott.com) and Photo� ex (www.photo� ex.com).

Umbrella BracketsFigure . shows a standard umbrella bracket, also called a shoe mount multi-clamp. � ey are incredibly simple and very

inexpensive. You can buy them at just about any camera store for less than . � eir purpose is to securely hold the umbrella and � ash on the top of the light stand.

Figure . - Here’s how the whole system comes together. Mount the umbrella bracket on top of the light stand. Then, insert the umbrella shaft into the bracket. Mount the fl ash on top of that. When you use Nikon CLS wireless fl ashes, this system is incredibly portable and versatile!

Figure . - This -inch umbrella folds up nice and small for most of my travel and location photogra-phy needs. I use Photofl ex and Westcott umbrellas.

Figure . - This is an umbrella bracket that mounts to a light stand. It is also called a shoe mount multiclamp. I use Photofl ex models.


1515

Light BoxesMany photographers prefer to use light boxes because of the clean catch light and the abil-ity to control light spill. Because of the light box design, light lands only where you aim it, not on the background or the ceiling. � ere are many brands of light boxes, but I � nd Photo� ex models to be lightweight, easy to use, and an excellent value (� gure .).

Refl ectorsNo lighting kit can be complete without some type of re� ector. I like to use a -inch model from Photo� ex, which in my opinion is the minimum size for portraits (larger is better). � e model I own is a gold/white unit: one side is gold and the other side is white. I use the white side when I photograph sub-jects where I don’t want to in� uence the color–for example, very tan people who don’t need additional color. I use the gold side when I think the subject needs a bit more color—for example, people who don’t get a lot of sun (like me) (� gure .).

Figure . - Notice how the fl ash mounts onto the back of the light box. Whatever brand you purchase, make sure that you also get the metal Speedlight adapter, like this one from Photofl ex, that mounts the fl ash to the lightbox.

Figure . - Photofl ex -inch refl ector. I am bouncing a SB- Remote fl ash off the refl ector and towards the subject—simple and eff ective. The refl ector is held on a light stand with a Bogen Superclamp.


1515

Clamps and BracketsA good supply of clamps and brackets is a must for any � ash photographer. You want to be able to fasten your � ash to just about any object. � e standard clamp used by many is the Bogen Superclamp (� gures . and .). It is truly a great product and built like a Sherman tank. I also own a large supply of plastic clamps that I purchase at hardware stores (� gure .). � ey hold lights, back-grounds, and re� ectors with ease. I modify a few clamps by adding /'' x threaded screws into the handle. � is allows me to at-tach a � ash to the clamp as shown in � gure ..

Figure . - The Bogen Superclamp is a tough and fl exible product that attaches to tripod sockets, light stands, tables, doors, and more

Figure . - With a simple plastic clamp, you can put a fl ash just about anywhere! Here, an SB- is attached to the clamp with an AS- stand.

Figure . - Bogen Superclamp on the leg of a tri-pod. I’ve attached an SB- and the AS- stand that comes with it on top of the Superclamp.

Figure . - I purchase standard plastic clamps at hardware stores and modify them with /” x threaded screws to mount my fl ashes

Common Questions and Answers

1616


1616

Q: Does my D pop-up � ash contrib-ute to the exposure when it operates as a Commander?

A: Yes it does, but its output is very low during the � nal exposure so you generally don’t have to worry about it too much (see next question). From a technique standpoint, the farther away you place the D from the subject, the less e� ect the pop-up � ash has in the � nal exposure.

Q: Is there any way to eliminate the output from the D pop-up � ash in Commander mode?

A: No. But there are a couple of simple ways to mask the output from the pop-up � ash. � e � rst method is to use the Nikon SG-IR � ash blocker. � is will block the visible light from the pop-up � ash and only allow UV/IR light to pass through.

� e second method is similar, but much less expensive! Follow these steps:. Cut o� a strip of exposed � lm leader (yes,

� lm). Tape � lm over front of pop-up � ash. Take picture

Q: Does my D, D, D, D, or D pop-up � ash contribute to the expo-sure when it operates as a Commander?

A: It depends. You can program the pop-up � ash to be only a Commander and not contribute to the exposure by setting it for - - - in the Custom Settings Menus (CSM). Alternatively, you can have the � ash contrib-ute to the exposure by setting it for TTL or M in CSM.

Q: How do I manage Remote � ashes if there are two other people in the room with D cameras who want to use Remote � ashes?

A: Since the D only communicates on one frequency, Channel Group A, this is a problem! � ere are only a couple of good solutions:

Tell the other people to turn their Remote • � ashes o� while you are shootingBuy an SB-, SB-, or SU- as • a Commander so you can use di� erent Channels and Groups

Q: Why doesn’t my Remote � ash � re?A: Here are some common causes:Pop-up � ash is in the down position• Wrong Channel• Wrong Group• Remote � ash is turned o� • Remote batteries are dead (READY light is • not illuminated)Remote � ash sensor is turned away from • Commander � ash

Q: Why does my SB- or SB- still � ashes when I have it con� gured for - - - (O� ) in Commander mode?

A: When the Commander � ash is con� g-ured for - - -, you have told it not to � re only during the actual exposure. � is means it won’t � re when the shutter is open. � e purpose of the Commander unit is to send out instructions to all of the Remote � ash units through light pulses. So you still see light coming from the Commander before the exposure, but not during the exposure.


1616

Q: Why is the background is so dark?A: You probably have your camera set for

Normal Sync. In this mode, the shutter speed defaults to / second, which is probably too fast to allow any ambient light into the camera.

Q: Why does my subject look so dark?A: Generally, the subject looks dark

because the � ash does not have enough power to light it up. Here are some common ways to solve this problem:

Get the � ash closer to the subject• Increase the power (� ash compensation)• Increase your camera’s ISO• Zoom your � ash more telephoto• Choose a larger aperture (e.g., f/. or • f/.)

Q: Why is my subject is so blurry?A: You probably have your camera set

for Slow Sync or Slow + Rear Sync. In these modes, the camera exposes for the ambient light and then pops the � ash for � ll � ash. � ere are a number of ways to remedy this “problem”:

Increase your ISO• Choose a larger aperture (e.g., f/. or • f/.)Tell your subject to hold still• Change your sync mode to Normal, which • will default your shutter speed to / sec-ond without necessarily exposing for the ambient light

Q: Why are my colors blue (or red or some other weird color cast)?

A: � ere are a couple answers to this question.. Your white balance isn’t set correctly. If

you are using � ash, then you generally should set your white balance to “Flash”. � en again, that isn’t always the best an-swer, especially if you are trying to balance the colors with ambient light. See chapter for more information on white balance and gel usage.

. You are using Slow Sync, which allows lots of ambient light into the photograph. If the ambient light is blue or red or some other color, then your photograph will have that same color cast.

Q: I see my Commander � ash � ring, but I don’t see any Remote � ashes responding. I’ve checked Channels and Groups, but nothing works. Why?

A: � is problem always happens when the Commander � ash’s batteries get low. Change the batteries in the Commander and everything will work just � ne, assuming the Channels and Groups are all con� gured properly.

1616

Q: Why does my SB- makes all those loud beeps, but I can’t see any light coming from it?

A: Most o� en this is because your Commander � ash is telling your SB- Remote to operate in AA mode. However, the SB- can only operate as a TTL or Manual � ash when it is con� gured as a Remote. It does not have the ability to work in AA mode.

Q: Why won’t my � ash head zoom when I place it on my camera?

A: � ere are a number of reasons this might be happening:

Your Wide Angle Flash Adapter is out• You mounted a di� usion dome on the SB-• or SB-Your � ash isn’t fully attached to the cam-• era’s hot shoeYou set the � ash for M Zoom• You turned o� the zoom function in the • � ash’s Custom Settings Menus

Q: Why does my � ash go into Standby mode so quickly?

A: � e SB-, SB-, and SB � ashes go into Standby mode quickly in order to save power. � is is a good thing. � ey are programmed by the factory to be in Auto Standby mode, which means they power down when the camera’s light meter shuts o� . To change this, go into the � ash’s Custom Settings Menus and con� gure them to your wishes.

Note: the � ashes won’t go into Standby mode when they are con� gured as Wireless Remotes.

Q: Why don’t any of the buttons on my � ash work?

A: You have activated the button lock feature on your � ash. For the SB-, press the MODE and - keys simultaneously to unlock the buttons. For the SB-, press the ON/OFF and SEL keys. For the SB-, press Function Button and Function Button .

255

257

Credits for Chapter Opening Images

Chapter 1 Gerry Mulligan (Gerry M)

Chapter 2Mike Hagen

Chapter 3James Symmonds (chimphappyhour)

Chapter 4Mike Hagen

Chapter 5Mike Hagen

Chapter 6James Symmonds (chimphappyhour)

Chapter 7Gerhard Rossbach

Chapter 8Mike Pastore (Aviatorbumm)

Chapter 9Mike Hagen

Chapter 10Mike Hagen




Chapter 14Gerhard Rossbach



258

Index 259

Index

Symbols

+/- buttons 20

A

Alkaline 17ambient light 8aperture 35Aperture 29Aperture Priority mode (A) 175AS-20 Mounting Foot 218Auto FP High Speed Sync Mode 18Automatic 19Automatic Flash mode 200

B

Batteries 212Battery Management 214

Black Box 213Brackets 249

C

Camera ISO 31, 34Camera Sync Modes 23Capacitor 18CCD 23Clamps 249CLS 3Commander 4Commander flash unit 10Commander Mode 187

D2-series or D3-series 192D40, D40x, D50, or D60 192D70 187D80, D90, D200, D300, or D700 188F6 192

Commander unit 3

D

D70 5D70s 5D80 5D90 5D200 5D300 5D700 5D-TTL 8

E

Error Beeps 195EzyBalance card 204

F

Factory Preset White Balance 201fill flash 194Flash Beeps 12flash bracket 245Flash Bracketing 224Flash Off 222Flash Shutter Speed 221flash sync mode 18Flash Sync Speed 220Flash Tube 33Flash Zoom Setting 7Front Curtain 23Front Curtain + Red-eye 24Front Curtain Sync 27Fuji S5 217

G

Gels 206Gel Usage 198gray card 203Groups of flashes 10Guide Number 22

Index260

K

Kelvin Color Temperature Scheme 199Kelvin Values 205

L

Light Boxes 248light intensity 31

M

Manual 18Manual Exposure 23Manual Flash 7Manual mode (M) 29Master 13MODE button 27

N

NiCd (Nickel Cadmium) 213Nikon SD-8A 213

P

photocell 20Pop-Up as a

Wireless Commander (Master) 15Power Options 212pre-flashes 3Program mode (P) 29

R

R1C1 Kit 174READY light 31Red-eye Sync 26Reflectors 248Remote unit 10

S

SB-26 6SB-80 6SB-600 7, 12SB-600 Buttons and Controls 37

AF Illumination 53Auxiliary Ready Light 38Beep On/Off 53+/- Buttons 45FLASH Button 48LCD Panel Illuminator 52Light Sensor Window 39MODE Button 41M ZOOM 52ON/OFF Button 41READY Light 50, 53Standby (STBY) 52Two-Button Controls 48Wide Angle Adapter 38Wide Area AF Assist Illuminator 39Wireless Remote Flash Mode 52Zoom Button 47

SB-800 7SB-800 as a Commander Unit 93SB-800 as a Dedicated Flash 90SB-800 as an SU-4 Unit (Commander or Re-

mote) 98SB-800 as a Remote Flash 92SB-800 as a Repeat Commander Unit 96SB-800 Buttons and Controls 59

AA Mode 73A Mode 75Bounce Card 61+/- Buttons 66Diffusion Dome 70External AF Assist Illuminator Contacts 83External Power Source Terminal 63Extra Battery Holder 65FLASH Button 81

Index 261

Flash Head 59GN 76Light Sensor for Auto Flash 63Light Sensor Window 64M Mode 77MODE Button 71Modeling Light Button 83ON/OFF Button 66READY Light 80RPT Mode 78SEL Button 80Sync Terminal 85TTL BL Mode 72TTL Multiple Flash Terminal 84Two-Button Controls 85Wide Angle Adapter 60Wide Area AF Assist Illuminator 62Zoom Buttons 68

SB-800 Custom Settings Menus 86Broken Wide Angle Adapter 89Canceling Flash Firing 90ISO 87LCD Panel Brightness 89LCD Panel Illuminator 89m/ft Distance Unit of Measure 88Non-TTL Auto Flash Mode 87Power Zoom Function 88Sound Monitor 87Standby Function (STBY) 88Wide Area AF Assist Setting 89Wireless Flash Mode 87

SB-900 7SB-900 as a Commander Unit 139SB-900 as a Dedicated Flash 137SB-900 as an SU-4 Unit (Commander or Re-

mote) 145SB-900 as a Remote Flash 138SB-900 as a Repeat Commander Unit 143

SB-900 Buttons and Controls 107AA Mode 118A Mode 121Bounce Card 108Diffusion Dome 115External Power Source Terminal 111Flash Head 107Function Buttons 114GN 122Light Sensor for Auto Flash 111Light Sensor Window 112M Mode 123MODE Button 117Power Switch 113RPT Mode 125Selector Dial and OK Button 113Sync Terminal 129Test Firing Button 126TTL BL Mode 117TTL Mode 118Two-Button Controls 129Wide Angle Adapter 108Wide Area AF Assist Illuminator 110ZOOM Button 114

SB-900 Custom Settings Menus 130A = Auto Flash Mode 130AF – AF Assist Illuminator/Flash Firing

Off 133FLASH 132FX/DX Selection 132ISO – ISO Sensitivity 134LIGHT – LCD Panel Illuminator 134My Menu 136M ZOOM – Power Zoom Off 133READY – READY Light Setting for

Remote Flash 134RESET – Reset Custom Settings 136RPT – Repeating Flash Mode 130STBY – Standby Function 133Test Firing Button 132Thermal Cut-out 134VER. – Firmware Version 136

Index262

SBR-200 14SB-R200 as a Remote Flash 173SC-17 12SC-28 12SC-29 12SG-3IR Panel 178Shutter Priority mode (S) 29shutter speed 17Slave 13Slow 23Slow + Rear 28Slow + Rear Sync 23Slow + Red-eye 27Slow Sync 21stops 163SU-800 154SU-800 as a Commander Unit 158SU-800 Buttons and Controls 154

A - B Button 155AF Assist Illuminator 154Commander/Close-up Select Switch 160Commander Transmit Window 158Flash Button 161MODE Button 156Modeling Light Button 159ON/OFF Button 156READY Light 159Right and Left Buttons 162SEL Button 162TTL Cord Terminal 176

T

Through The Lens 3TTL 4, 18TTL BL (Automatic Balanced Fill Flash) 19TTL Remote Cord 213

U

umbrella 245umbrella bracket 245

W

WB Fine Tuning 201White Balance 198Wireless Commander 13Wireless Remote 12

Documents

The Nikon Creative Lighting System: Using the SB-600, SB-800, SB-900, and R1C1 Flashes