User manual NIKON AH-4 HAND STRAP

[. . . ] Essentially the same lighting effect is produced when the camera is positioned either horizontally or vertically. Use of the built-in wide-flash adapter in conjunction with the Nikon Diffusion Dome produces the maximum amount of diffused light. i-TTL Automatic Balanced Fill-Flash i-TTL Automatic Balanced Fill-Flash Standard i-TTL flash 6 In this mode, the camera automatically controls the flash output to keep both the subject and background properly exposed. This mode is especially effective when shooting scenes that include a mirror, white wall, or other highly reflective surfaces (p. 37). Shooting data (i-TTL Automatic Balanced Fill-Flash) Camera: D2H Focal length: 70mm Speedlight: SB-800 set to Do Aperture: f/14 Auto FP High-Speed Sync Auto FP high-speed sync Flash shooting at normal sync speed Automatic high-speed flash synchronization at shutter speeds exceeding the camera's flash sync speed is possible. [. . . ] Shooting data (With FV Lock) Camera: D2H Focal length: 60mm Speedlight: SB-800 set to Do Aperture: f/8 7 FV Lock is unnecessary when the main subject is centered. Shooting data (Without FV Lock) Camera: D2H Focal length: 60mm Speedlight: SB-800 set to D Aperture: f/8 Close-up photography using multiple flash units Two flash units (one bounced from the side; another used directly from the top rear) Direct on-camera flash Dramatic close-ups of small objects can be created by using one SB-800 off-camera as the master flash and another as the remote flash. 8 A feeling of roundness is provided by this set-up. One SB-800, the master flash, is used off-camera via a cord to bounce the light off a reflector card to diffuse the shadows, while a second SB-800, the remote flash, is positioned above and to the left rear of the subject, providing direct illumination. In this situation, the master flash unit is the fill light, whereas the remote flash is the main light (p. Shooting data (Using two flash units) Camera: D2H Focal length: 105mm 1 Master flash unit: SB-800 set to D (bounced from the side) 2 Remote flash unit: SB-800 set to D (directly from the top rear) Aperture: f/22 Shooting distance: Approx. 1m (3. 3 ft. ) Off-camera flash directly from the side Off-camera flash bounced from the side 2 1 Flash set-up Three flash units (one flash bounced from the side + two flashes from the top and rear) On-camera flash Two flash units: Off-camera flash bounced from the side + one directly from the top Two flash units: one flash back-lit from the side + another from the bottom using a reflector and gel filter. With a single on-camera flash unit, distinct shadows appear behind the subject, contributing to a sense of flatness. Bounced illumination from the side and direct illumination from the top rear provided by two SB-800s eliminate the shadows and emphasize the motorcycle's contours such as the wheels. In this way, a much more vivid rendition of both the miniature model of the bike and the figure beside it are created (p. Shooting data (Two flash units: Off-camera flash bounced from the side + another directly from the top rear) Camera: D2H Focal length: 105mm 1 Master flash unit: SB-800 set to D (bounced from the side) 2 Remote flash unit: SB-800 set to D (directly from the top rear) Aperture: f/22 Shooting distance: Approx. 1. 5m (4. 9 ft. ) 9 Flash set-up 2 1 Close-up photography using multiple flash units (cont. ) Two flash units (one from the side and another from above) A single flash unit from above By using more than one SB-800, you can take Shooting data breath-taking close-ups of subjects like flowers. (Using a single flash unit from above) To bring out the gorgeous colors and textures of the purple cattleyas, two SB-800s were used, one on the left front (as the master unit via a cord) and another (as the remote unit) on the right rear and slightly above the flowers. Although both Speedlights were used directly, this lighting set-up produces soft shadows with enhanced subject detail (p. This allows the use of slow shutter speeds for recording detail in the background, while the flash provides the correct exposure for the subject in the foreground (p. Shooting data (Slow-sync flash) Camera: D2H Focal length: 80mm Master flash unit: SB-800 set to Do Aperture: f/7. 1 Shutter speed: 1/4 sec & Shooting with colored gel filters Shooting data (With a gel filter) Camera: D2H Speedlight: SB-800 set to Do White balance setting: Fluorescent With a gel filter (for fluorescent light) and the camera's white balance set to "Fluorescent" Without a gel filter and the camera's white balance set to "Flash" ( Modifying the color temperature of the flash to match that of the overall scene illumination. If you shoot flash pictures under fluorescent light with your digital camera's white balance set to "Flash, " the main subject will look normal. In these photos, the on-camera flash was bounced off the ceiling and used as the master unit, while a second flash unit positioned on the right side was used directly as the remote unit. The color of the illumination from the remote flash was modified by attaching colored gel filters. In addition, the background was changed by placing a window shade between the subject and remote flash and firing the flash through it (pp. Shooting data (Using two flash units) Camera: D2H Focal length: 60mm 1 Master flash unit: SB-800 set to D 2 Remote flash unit: SB-800 set to G Aperture: f/7. 1 White balance setting: Flash Two flash units with no gel filter with the window shade Two flash units with a blue gel filter with the window shade Flash set-up Window shade 2 1 Two flash units with an red gel filter with the window shade Four flash units with gel filters Truly original photos are possible to create by using three remote flash units with colored gel filters attached and positioning them on three sides of the subject, then shooting the picture from a high angle (pp. Shooting data (Using four flash units) Two flash units with no gel filter without the window shade Camera: D2H Focal length: 45mm 1 Master flash unit: SB-800 set to D 2 Remote flash unit A: SB-800 set to G with a yellow gel filter 3 Remote flash unit B: SB-800 set to G with a red gel filter 4 Remote flash unit C: SB-800 set to G with a blue gel filter Aperture: f/8 White balance Setting: Flash + Two flash units with a blue gel filter without the window shade 2 3 1 Two flash units with an red gel filter without the window shade 4 Flash set-up Using colored gel filters with multiple flash (cont. ) Four flash units: On-camera flash + three remote flash units with blue, yellow, and red gel filters Single on-camera flash , With the SB-800 mounted on the camera and used directly, illumination of the wall with the framed pictures falls off rapidly toward the rear. To spice up the picture and add needed illumination, three remote flash units with blue, yellow, and red gel filters were bounced off the wall (pp. Shooting data (Using four flash units) Camera: D2H Focal length: 56mm 1 Master flash unit: SB-800 set to D 2 Remote flash unit A: SB-800 set to G 3 Remote flash unit B: SB-800 set to G 4 Remote flash unit C: SB-800 set to G Aperture: f/5. 6 White balance setting: Flash Four flash units: On-camera flash + three remote flash units without gel filters. Flash set-up 2 3 4 1 Flash output level compensation using multiple flash units In the Advanced Wireless Lighting mode, you can use more than one flash to intentionally overexpose or underexpose various parts of the picture. The series of photos below were taken with two flash units; the master flash unit was used on-camera to illuminate the subject in the foreground, while the remote unit lit the background subject. The photo in the center was taken without setting any exposure compensation on either flash unit, or in other words, 0. 0 EV. [. . . ] The photos reading across from left to right were made by using flash output level compensation on the master flash that illuminates the foreground subject, in this case +1 EV compensation for the left-hand shot and ­1 EV compensation for the right-hand one. The pictures reading from top to bottom were created by setting flash output level compensation on the remote flash that lights the background subject; the top photo has +1 EV compensation and the bottom ­1 EV compensation. (pp 54, 76) Background overexposed - Foreground overexposed Correct exposure Foreground underexposed Flash set-up Background underexposed 2 Shooting data (Foreground and background correctly exposed) Camera: D2H Focal length: 42mm 1 Master flash unit: SB-800 set to D 2 Remote flash unit: SB-800 set to D Aperture: f/10 1 Exposure compensation and flash output level compensation Exposure compensation and flash output level compensation are used to intentionally modifying the exposure. Exposure compensation in the Non-TTL auto flash mode is shown in the three photos on the left. Varying the exposure for both the subject and background is possible by changing the aperture setting on the SB-800 (p. [. . . ]