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Nik on ® Creative Lighting S ystem Digital Field Guide 01_045275 ffirs.qxp 11/28/06 8:26 PM Page i.
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Nik on ® Creative Lighting S ystem Digital Field Guide J. Dennis Thomas 01_045275 ffirs.qxp 11/28/06 8:26 PM Page iii.
Nikon ® Creative Lighting System Digital Field Guide Published by Wiley Publishing, Inc. 111 River Street Hoboken, N.J. 07030-5774 www.wiley.com Copyright © 2007 by Wiley Publishing, Inc.
About the Author J. Dennis Thomas, known to his friends as Denny , has been interested in photography since his early teens when he found some of his father’s old photography equipment and photographs of the Vietnam W ar.
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Project Editor Cricket Krengel T echnical Editor Michael D. Sullivan Copy Editor Jerelind Charles Product Development Super visor Courtney Allen Editorial Manager Robyn B.
This book is dedicated to my family . T o Hunter and Dylan, Mom, Dad, Diana, Tami, and the rest... 01_045275 ffirs.qxp 11/28/06 8:26 PM Page viii.
Ackno wledgments T hanks to Jack Puryear at Puryear Digital Photog raphy , Robert and Jerry at Precision Camera and Video in Austin, TX, Julia Czech at Wet Salon in Austin, TX, the faculty and staff a.
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Contents at a Glance Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix Quick T our . . . . . . . . . . . . . . . .
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Contents Introduction xix Quick T our 1 Getting Up and Running Quickly 2 T aking Y our First Photos with the Speedlight 4 P ar t I: Using the Creative Lighting Syst em 7 Chapter 1: Exploring the CL S .
Other Components of the Creative Lighting System 23 Camera compatibility 23 D50 2 5 D7 0/D70s 2 5 D200 2 6 D2X/D2Xs and D2H/D2Hs 26 SU-800 Commander 26 SBR-200 Speedlight 27 Chapter 2: Setting Up the .
P ar t II: Creating Great Photos with the Creative Lighting Syst em 4 7 Chapter 3: Flash Photography Basics 49 Speedlights versus Studio Strobes 49 Basics of Lighting 53 Studio lighting 5 3 Placement .
Setting Up Groups 83 SB-600 84 SB-800 84 Setting Output Level Compensation 84 With the SB-800 set to Master 84 Using a built-in Speedlight 85 Chapter 5: Setting Up a W ireless Studio 8 7 Introduction .
Event and wedding photography practice 1 24 Event and wedding photography tips 1 26 Environmental Portrait Photography 12 6 Inspiration 1 28 Environmental portrait photography practice 1 29 Environmen.
P ar t II I: Appendixes 1 7 7 Glossary 1 7 9 Appendix A: Resources 1 85 Informational Web Sites 1 85 Workshops 1 86 Online Photography Magazines and Other Resources 1 86 Index 1 89 02_045275 ftoc.
Introduction W hen Nikon introduced the Creative Lighting S ystem, it was mostly overlooked. The focus was on the rapidly changing advancement of digital SLR cameras. This disregard was a shame because the Nikon Creative Lighting System was the most amazing development to happen to photographic lighting in decades.
xx Current element In 2002 Nikon replaced the SB-2 8DX with the SB-80DX. T he changes were minimal, more power , wider zoom, and a modeling light. They also returned the wireless optical sensor . As before, although you could use this Speedlight wirelessly , you still had to set every thing up on the flash itself .
QT QT CHAPTER Quick T our M any cameras come equipped with a built-in flash. Like any photographer who takes many photos with flash, you soon learn the limitations of these built-in flashes.
Getting Up and Running Quickly If you want to get up and running quickly with your Nikon Speedlight SB-800 or SB- 600, all you really need to do is insert the batteries, attach the Speedlight to your cam- era, and then turn both the Speedlight and the camera on.
✦ Quick T our 3 QT .2 Position the flash head in the horizontal position by pressing the flash head tilting/rotating lock release. QT .3 Repositioning the flash head.
The SB-800 comes equipped with the SW-1 0H diffusion dome. When you place the dif- fusion dome over the flash head, you get a more subdued, softer light on your subject. Consider using the diffusion dome when shooting portraits of people or even when you want to soften the light on other subjects such as a floral arrangement.
Don’t be afraid to use your flash outside in the sun. This is where balanced fill flash excels. The flash fills in some of the harsh shadows that are created by the sun. T aking photos with the Speedlight on T TL is just as easy as taking photos without a flash.
Everything is attached and you have the basic settings, so get out there and shoot. T ake some pictures of your friends or signif- icant other . Get your dog or cat posed. Set up a still life. Experiment with different aper- tures and shutter speeds. Above all, have fun! 6 Quick T our ✦ QT .
Using the Creative Lighting S ystem I I P ART ✦✦✦✦ In This Part Chapter 1 Exploring the CLS Chapter 2 Setting Up the SB-800 and SB-600 ✦✦✦✦ 05_045275 pt01.
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1 1 CHAPTER Exploring the C L S T he components of the Nikon Creative Lighting S ystem are any Nikon dSLR and the SB-800, SB-600, and SBR- 200 Speedlights. Additional components include the SU-800 commander unit, and the R1 and R1C1 macro lighting kits.
✦ iTTL. Nikon’s most advanced metering system, it uses pre- flashes fired from the Speedlight to determine the proper flash expo- sure. The pre-flashes are read by a 1 005-pixel metering sensor.
✦ i- TTL. Supports i- T TL, D - T TL, TTL, and full Manual operation. ✦ Advanced Wireless Lighting. T his allows you to control up to three different groups of Speedlights in TTL, A A, A, or M mode. ✦ Slow S ync. Enables you to match the ambient background lighting with the flash so the background doesn’t end up black.
Main par ts The main parts of the SB-800 Speedlight are identified and discussed in the following sections. Figures and explanations of each part and feature are included so you have a clear understanding of how each is used. ✦ Flash head. This is where the flashbulb is located.
✦ Flash head lock release button. This button releases the flash head lock allowing you to adjust the angle for bounce flash. ✦ Battery compar tment lid.
✦ Light sensor for TTL wireless flash. T his sensor reads signals from Commander units enabling wireless flash. ✦ Light sensor for automatic non- TTL flash. This sensor reads the light reflected off of the subject telling the flash when to shut off when operating in AA (aper ture automatic mode), or A (non- TTL automatic mode).
✦ PC sync terminal. This is used for linking more than one flash unit in non- TTL mode, usually in manual mode. ✦ External AF-assist contacts. These contacts are for use with the optional SC-2 9 T TL remote cord. This allows you to use the AF-assist beam when using your flash off camera.
✦ Multi-selector button. This main button can be pressed up and down, left and right, or in the center . • Up and down. Labeled as + for up and – for down, these but- tons allow you to move up and down in the menu, which dis- plays on the L CD when the Speedlight is turned on.
Depending on which camera and lens you are using, all of the SB-800 flash modes may or may not be available. In addition to the standard buttons on the back of the Speedlight, there are some func- tions that can only be accessed by pressing two buttons at the same time: ✦ Mode and Select.
D7 0/s the F P High Speed Sync feature is unavailable. ✦ Guide Number . 1 2 5 at ISO 1 00 on the 35mm setting. See your owner’s manual for more specifics on GNs for specific zoom ranges. ✦ Automatic zooming flash-head. Provides lens coverage from 24mm up to 1 05mm.
✦ Wireless remote ready light. Works as a ready light when the SB-600 is being used as a remote flash. ✦ AF-assist illuminator . Emits an LED light array to achieve focus in low-light situations. ✦ Flash head tilting angle scale. Allows you to set the flash head at 45°, 60°, 7 5°, or 90° tilt.
✦ Ready light. Lights up indicating that the Speedlight is ready to fire. After the Speedlight is fired this light blinks until the Speedlight is fully recycled and ready to fire. ✦ Control buttons. Used to set and change setting on the Speedlight.
✦ External AF-assist contacts. These contacts are for use with the optional SC-2 9 T TL remote cord. This allows you have the AF-assist beam when using your flash off camera. ✦ Hot shoe mounting foot. This slides into the hot shoe on your camera body and locks down with a lever .
✦ The On/Off button. Press the on/off button for about a half- second to turn the SB-600 on or off . ✦ The Flash button. Press this but- ton to test fire the SB-600 to check for output. ✦ The Zoom button. Pressing this button changes the zoom of the flash head to adjust for different focal length lenses.
✦ Mode and minus. When the mode button and the - button are pressed in conjunction the control buttons are locked to prevent any accidental changes to the settings. The lock does not affect the flash button and the On/Off button. ✦ Zoom and minus.
24 Par t I ✦ Using the Creative Lighting Syst em T able 1.1 Nikon CL S Camera Compatibility Camera Model or Series CLS Feature Details D50 i- TTL flash Available with the built-in Speedlight, SB-80.
Even though each camera doesn’t offer full functionality of the CLS features that each Speedlight offers, there are some caveats, as the next sections explain. D50 With the D5 0, just because you can’t use the built-in Speedlight as a remote commander doesn’t mean you can’t use advanced wire- less lighting.
There are ways to lessen the exposure of one Speedlight in a group, such as moving it further away from the subject. The other drawback to using the D7 0/D70s built-in Speedlight as a commander is that it only allows you the option of using one channel.
SB R-2 00 Speedlight The SBR-200 is a dedicated macro Speedlight. With macro flash photography it’s best to get your flash on axis, or on the same level as the subject. In macro photog- raphy , your lens is usually very close to your subject, which ends up blocking the light from an on-camera shoe-mounted flash.
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2 2 CHAPTER Setting Up the S B-6 00 and S B-8 00 T his chapter covers how to set up your Speedlights for various types of use. I discuss the different flash settings and offer suggestions on when to use them. Y ou also learn how to set up your Speedlights for wireless use and how to set the zoom head for a specific lens.
Non-rechargeable If you are not ready to invest a set or two of rechargeable batteries for your Speedlights, you should consider your choices within the non-rechargeable variety .
With Ni-MH batteries, you must fully charge the batteries before you install them into your Speedlight. If one of the batter- ies in the set becomes dis- charged before the others, the discharged batt.
TT L The TTL metering system, also known as 3D Multi Sensor metering is Nikon’s older film- based flash metering system. The flash expo- sure is based upon the readings of the monitor pre-flash on a sensor that reads the reflected light off of the film that is loaded into the camera body .
Non- T TL Auto flash When using the Auto flash mode, the mon- itor pre-flash solely determines the flash output. T o adjust the exposure you simply change the aperture value in your camera settings. T o use this mode: 1. Set your camera to Aperture Priority (A) or Manual (M).
4. Press the center Multi-selector button again. This sets the flash level and highlights the frequency setting. Set the frequency to how many times you want the flash to fire per second. 5. Press the center Multi-selector button again. This sets the fre- quency and highlights the setting for the number of flashes per frame.
place an SB-600 off to the side in order to accent your models features better or place an SB-800 above an object to highlight the texture. The possibilities are endless. The Speedlight’s wireless remote function is set in the Speedlight’s Custom Settings Menu.
Sound When the SB-600 or SB-800 Speedlights are used as wireless remotes, by default they are set to beep when the flash has recycled. This sound is to let you know that flash is ready to fire again. Y ou can turn this setting off if you’re using multiple flashes or if you just don’t want to hear it.
2. Use the + or – buttons to enter the Zoom menu. The default menu will indicate manual zoom is off . 3. Use the Mode button to turn the manual zoom on. 4. Press the On/Off button to return to main menu. 5. Use the Zoom button to choose the correct zoom position.
Adjusting output compensation – on camera As I discussed previously , you don’t always want your Speedlights firing at the same output. Y our camera and Speedlight take a reading to decide how much output is needed for a perfectly lit exposure. Y our camera’s idea of a perfect exposure doesn’t take into account your artistic vision.
Adjusting output compensation – wireless mode When using the Speedlight as a wireless remote, adjusting the output varies depend- ing on what you’re using as a commander unit. The D7 0/D7 0s and D200 built-in Speedlights can be used as commanders, while the D2 series require an SU-800 or SB-800.
D200 Using the D200 built-in flash as a com- mander , the exposure compensation is con- trolled within the Commander Mode menu. In this menu, you choose the group and make the changes with the camera. The menu enables you to adjust the exposure of the built-in Speedlight, and Groups A and B individually .
Locking controls After you have the settings on your Speedlight where you want them, you can lock the settings in to prevent accidental changes from occurring while you handle the flash units. This function ensures that your Speedlights stay exactly as you set them.
Red-eye reduction Red-eye. . . everybody’s seen it in a picture at one time or another . The devilish red glare makes your subjects look like they crawled out of the ninth ring of Dante’s Inferno.
Red-eye reduction cannot be set on the SB- 800 or SB-600. The camera body controls this function. Most, if not all Nikon dSLR camera bodies have some sort of red-eye reduction function. Consult your specific camera’s owners manual for instructions on how to set it up.
AF Assist When photographing in a dark environment, it is sometimes hard for your camera’s auto- focus sensor to find something to lock on to. When using an SB-800 or SB-600 in a low- light situation, the flash emits an LED pat- tern to give your camera sensor something to focus on.
SB-800 T o turn the AF Assist illuminator on and off on the SB-800: 1. Enter the CSM by pressing the SE L button for two seconds. 2. Use the + or – buttons and the left and right Zoom buttons to choose the AF-I LL menu, and then press the Select button.
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Creating Great Photos with the Creative Lighting S ystem II II P ART ✦✦✦✦ In This Part Chapter 3 Flash Photography Basics Chapter 4 Wireless Flash Photography with the CLS Chapter 5 Setting Up a Wireless Studio Chapter 6 Real-W orld Applications Chapter 7 Simple Posing for Great Portraits ✦✦✦✦ 08_045275 pt02.
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3 3 CHAPTER Flash Photography Basics T his chapter goes over some of the basic information you should know when starting out with flash photog- raphy . For those of you who aren’t new to using external flash or the CLS, much of this may be a review — but you might learn a thing or two about your Speedlights and how to best use them.
This section discusses the pros and cons of the different lighting systems. ✦ Portability . Let’s face it, you can pack three or four Speedlights in one bag, which only weighs a few pounds. Y ou still need stands and umbrellas for many types of shoot- ing, but Speedlights are small and very portable.
✦ TTL. With studio strobes, you don’t have the advantage of through-the- lens metering. When using the Nikon version of TTL (i- T TL), the camera automatically adjusts the exposure according to the desired flash output and adjusts distance to the subject as calculated from the lens distance setting.
I’m not one to advocate that using Nikon Speedlights is the only way to go for studio lighting, but it’s a great star t if you’re either on a budget or need the advantage of porta- bility . Studio strobes do in fact offer a few advantages over using Speedlights in some studio lighting situations.
The modeling light from a Speedlight fires a quick 2.5 sec- ond series of flashes. It doesn’t provide constant lighting so you can see what you are doing.
✦ Visual Impact. Photographers take a lot of portraits and still life images in their everyday work, but the best images contain a combination of a strong subject matter and creative lighting. When setting up your stu- dio photos, take color , tone, and lighting all in consideration when creating your image, as shown in the image in figure 3.
✦ Amount: Y ou may have heard the terms high key or low key lighting. Simply put, high key lighting is bright and evenly lit, usually having a bright background and a low light ratio of approximately 2:1. Conversely , low-key lighting is dra- matic lighting, often featuring dark, shadowy areas and ratios of at least 3:1 or higher .
Y ou don’t have to have three or four Speedlights to set up a stu- dio. Many photographers, even professionals, capture great portraits using one flash, either on or off the camera. If you’re using just one Speedlight, con- sider investing in the Nikon SC- 29 off camera hot shoe cord.
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58 P art II ✦ Creating Great Photos with the Creative Lighting System 3.8 Short lighting illuminates the side of the subject that is turned away from the camera.
Chapter 3 ✦ Flash Photography Basics 59 Lighting Ratios Lighting ratios are the difference in light intensity between the shadow and highlight sides of your subject. Lighting ratios are expressed as any other ratio is, for example, 2:1, which translates as one side being twice as bright as the other .
60 P art II ✦ Creating Great Photos with the Creative Lighting System Using Speedlights outdoors One of the most important tools you can have for taking outdoor portraits is a Speedlight. The best light to use is what nature provides, but when taking photos of people or pets outdoors, I almost always use a Speedlight as a fill flash .
✦ Reducing contrast. A Speedlight can improve an outdoor portrait in high contrast situations. Using a Speedlight can help reduce the dif- ference between the shadows and the highlights. ✦ Providing light in the dark. Don’t limit yourself to outdoor shooting only in the daytime.
Color T emperature and W hite Balance Light, whether it be sunlight, moonlight, flo- rescent light, or light from a Speedlight, is measured using the Kelvin scale. T his meas- urement is also known as color tempera- ture . One of the advantages of using a digital camera is the ability to measure the color temperature of light through the lens.
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Consider these facts regarding white bal- ance and using Speedlights: ✦ Speedlights are set to 5500K. Speedlights produce light with a color temperature of 55 00K, which is also the same color temperature as the daylight white balance set- ting on Nikon dSLRs.
Chapter 3 ✦ Flash Photography Basics 65 By keeping your digital camera set to the automatic setting, you reduce the amount of images taken with incorrect color tem- peratures. Most of your images, in many lighting situations (with or without the use of Speedlights) are very accurate.
Using Bounce Flash When shooting photos with a Speedlight attached to your camera, you can achieve dramatically different lighting effects by bouncing the light from your flash off the ceiling (or reflector) onto your subject. Bounce flash provides a softer and more evenly lit image.
Chapter 3 ✦ Flash Photography Basics 67 3.20 Close up portrait using the flash in bounced position W hen to use bounce flash Y ou have many situations where a bounced flash is more desirable, especially when tak- ing portraits or snapshots. These situations include: ✦ Camera is close to the subject.
68 P art II ✦ Creating Great Photos with the Creative Lighting System 3.21 Interior of Sun Studios in Memphis, T ennessee, shot with direct flash 3.
Chapter 3 ✦ Flash Photography Basics 69 ✦ Even illumination is desired. If you’re taking a photo of a scene where you want more even light- ing throughout the frame, bounce flash helps you more evenly illumi- nate the entire area. Examples are when taking photos where you want both the foreground and background evenly lit.
70 P art II ✦ Creating Great Photos with the Creative Lighting System 5. T ake a test shot. T ake a photo and review the results on your dig- ital camera’s L CD (if you are using a digital camera).
Chapter 3 ✦ Flash Photography Basics 71 Aper ture Another factor that determines the proper flash exposure is the aperture setting. The wider the aperture, the more light falls on the sensor . The aperture or f-stop number is a ratio showing the fractional equivalent of the opening of the lens compared to the focal length.
72 P art II ✦ Creating Great Photos with the Creative Lighting System T able 3.2 SB-800 Guide Numbers (at ISO 1 00) Flash Output Level Zoom Head Position 1* 2** 14*** 1 7*** 24 28 35 50 70 85 105 M 1/1 1 2.
Chapter 3 ✦ Flash Photography Basics 73 In simpler terms this means you divide one by the distance then square the result. So if you double the distance, you get 1/2 squared, or 1/ 4 of the total light; if you quadruple the distance, you get 1/ 4 squared or 1/1 6 of the total light.
Y ou can determine the approxi- mate distance to your subject by looking at the lens after it has been focused on the subject. Most lenses have a distance scale on them or you can use a tape measure. 4. After you determine the expo- sure, set the flash exposure at 1/3 to 2/3 of a stop under the proper exposure.
4 4 CHAPTER W ireless Flash Photography with the C L S Y ou’re probably wondering in what situations you might want to use multiple wireless Speedlights? Well, the answer is, you can use them for almost any type of pho- tography and in many different situations.
you in the ballpark; all you have to do is fine-tune. The fine-tuning is made easy with CLS also. All of your adjustments are made from right behind the camera with just one glance at your L CD preview. The Nikon Creative Lighting S ystem is a very complex tool, but all of the complexities are taken care of within the camera system itself .
four Speedlights: one for your key light, one for your fill, one for a background light, and one for a hair light. Depending on what camera you’re using, this can mean five Speedlights, including one to be used as a commander unit. This is, of course, an extreme example.
St ep 4: Adjust output levels Now you’re ready to adjust the output levels. After you get your channels set, your groups decided, and your lights set up, it’s time to take some test shots. If you have everything set to the TTL flash mode, you should be pretty close to the proper exposure.
5. Select the desired mode: TTL, AA, or M. Push the multi-selector right to save settings. Note that when M is selected you must choose the flash output level before you can save the settings.
8. Use the multi-selector left and right to highlight the settings for groups A and B and also to set the channels. 9. Press the Enter button to set the changes. Be sure to set your remote Speedlights to the proper groups and channels. SB-800 as a mast er T o use the SB-800 as a master flash: 1.
SB-800 in Mast er mode T o set the flash mode on the SB-800 in Master mode: 1. Enter the CSM on the Speedlight. Press the Select button (SEL) for two seconds to get there. 2. Use the + or – and the left and right zoom buttons to choose the wireless settings menu.
Setting Channels After you get the flash mode set, you decide on the channel. As discussed earlier , you have four channels from which to choose. All four channels operate exactly the same so it doesn’t matter which channel you use as long as all of your remote Speedlights are set to the same one.
2. Press the + or – buttons to cycle through the CSM until you see a squiggly arrow that sa ys Off above it. 3. Press the Zoom or Mode buttons to turn the remote setting on. 4. Press the Po wer button. This brings you to the wireless remote settings menu.
SB-600 T o set up a g roup using the SB-600: 1. Go into the CSM by pressing the Zoom and – buttons simultane- ously for about two seconds. 2. Press the + or – buttons to cycle through the CSM until you see a squiggly arrow that sa ys Off above it.
3. Press the SE L button again to highlight Group A. 4. Use the + or – buttons to adjust the output level. 5. Repeat the steps to adjust Groups B and C. Using a built-in Speedlight T o set output level compensation using the built-in Speedlight on a D7 0/D70s: 1.
T o set output level compensation using the built-in Speedlight on a D200: 1. T urn on the camera and press the Menu button to the left of the LCD. 2. Enter the CSM using the multi- selector to scroll down to the pencil icon. 3. Use the multi-selector button to highlight CSM e – Bracketing/ Flash.
5 5 CHAPTER Setting Up a W ireless Studio A portable studio is a handy thing to have. It enables you to go on location and photograph your subjects in their own environment. This way you can take your studio to your client. A portable studio should be exactly that — portable.
Introduction to the P or table Studio A portable studio should include, but should not be limited to at least one Speedlight, a reflector of some sort to fill in the harsh shadows created by strobes, an umbrella or softbox to soften the light for a more pleasing effect, and one or more light stands.
✦ Convertible. The third type of umbrella is a convertible umbrella. This umbrella has a silver or gold lining on the inside and a remov- able black cover on the outside. Y ou can use these umbrellas to bounce light or as a shoot-through when the outside covering is removed.
Choosing the right umbrella is a matter of personal preference. Some criteria to keep in mind when choosing your umbrella include the type, size, and portability.
Stand-mounted softboxes come in a multi- tude of shapes and sizes ranging from squares to rectangles to ovals to octagons. Most photographers use standard square or rectangular softboxes.
Backgrounds and Background Stands When you want to isolate the subject, mak- ing it the sole focus of the image, use a background. Backg rounds can also be used to compliment the color of an object or to accent a certain feature of the person whose portrait you are taking.
For more information on high key and low key , see Chapter 3. In order to keep your portable studio man- ageable, sometimes it might be necessary to cut down your seamless paper backdrop.
Muslin is very versatile, and although it’s much more suited to portraits, it can be used successfully for product shots as well. Canvas backdrops Canvas backdrops are very heavy duty . They are usually painted a mottled color that is lighter in the center and darkens around the edges, which helps the subject stand out from the background.
Background stands Background stands, amazingly enough, hold up your backgrounds. Most backg round stand kits have three pieces: two stands and a cross-bar . The cross-bar slides into a roll of paper or other backdrop and is held up by the stands. The cross-bar has two holes, one at either end, which slide over a support pin on the top of the stand.
If you use a long focal length lens to photo- graph a head and shoulders por trait, you don’t want to find your back up against the wall when you only have the head in the frame.
Chapter 5 ✦ Setting Up a Wireless Studio 97 5.8 A portrait using shadowless light 11_045275 ch05.qxp 11/28/06 8:25 PM Page 97.
98 P art II ✦ Creating Great Photos with the Creative Lighting System 5.9 A portrait using butter fly lighting 11_045275 ch05.qxp 11/28/06 8:25 PM Page 98.
Chapter 5 ✦ Setting Up a Wireless Studio 99 5.1 0 A por trait using loop lighting 11_045275 ch05.qxp 11/28/06 8:25 PM Page 99.
100 P art II ✦ Creating Great Photos with the Creative Lighting System 5.1 1 A por trait using Rembrandt lighting 11_045275 ch05.qxp 11/28/06 8:25 PM Page 100.
Chapter 5 ✦ Setting Up a Wireless Studio 101 5.1 2 A por trait using Split lighting 11_045275 ch05.qxp 11/28/06 8:25 PM Page 101.
Small products Photographing small products requires a lot less room than photographing people. Y ou can move the lights much closer , and you can use a close-up or macro lens. Even when using a lens with a long focal length, you are able to be closer to the subject, thereby reducing the amount of space you need.
speed. The FP High Speed Sync mode causes the Speedlight to emit a series of lower power flashes that coincide with the movement of the shutter across the focal plane, which is where the digital sensor is. The drawback to FP High Speed Sync is that it diminishes the range of the Speedlight.
✦ Pelican cases. T hese are some of the best cases you can get. Pelican cases are unbreakable, watertight, airtight, dustproof, chemical resist- ant, and corrosion proof . They are built to military specs and are unconditionally guaranteed forever .
It might sound strange, but a gun case works great for carrying two light stands, two background stands, the backg round cross-bar , and roll of seamless backg round paper cut down. Gun cases are available at sporting good stores and are relatively inex- pensive.
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6 6 CHAPTER Real W orld Applications N ow that you’ve got the hang of using your Speedlight, it’s time to put your skills to use in the real world. This chapter details many different kinds of photography and offers you insight on how to approach the subjects as well as tips and suggestions from real, professional experiences.
Y ou can employ a number of different tech- niques to further decrease motion blur on your subject. The most commonly used technique is panning. Panning is following the moving subject with your camera lens. With this method, it is as if the subject is not moving at all because your camera is mov- ing with it at the same speed.
While panning you can sometimes use a slower shutter speed to exaggerate the effect of the background blur. P anning can be a very difficult technique to master and requires a lot of practice. Using flash for Action/Sports photog raphy is not always necessary or advisable.
110 P art II ✦ Creating Great Photos with the Creative Lighting System 6.2 “Pants,” Ninth St. dirt jumps, Austin, TX / Nikon D200 with Nikkor 1 7-5 0 f/3.
Chapter 6 ✦ Real World Applications 111 Action and spor ts photography practice 6.3 Flowrider competition, New Braunfels, TX / Nikon D200 with Nikkor 80-200mm f/2.8, ISO 1 00, 1/250 sec. at f/7 .1 with SB-600 set to TTL BL. T able 6.1 T aking Action and Spor ts Pictures Setup Practice Picture: For figure 6.
112 P art II ✦ Creating Great Photos with the Creative Lighting System T able 6.1 (continued) Camera Settings Practice Picture: My camera was set to Shutter Priority mode to ensure that I had a fast enough shutter speed to freeze the water droplets in mid-air .
Chapter 6 ✦ Real World Applications 113 Animal and P et Photography Photographing pets is something every pet owner likes to do. I’ve got enough pictures of my dog to fill a three hundred gig hard drive. The most difficult aspect about pet photography is getting the animal to sit still.
114 P art II ✦ Creating Great Photos with the Creative Lighting System 6.5 Charlie Murphy mid yawn / Nikon D7 0 with T okina 1 9-35mm f/3.5, ISO 200, 1/5 00 sec.
Chapter 6 ✦ Real World Applications 115 Animal and pet photography practice 6.6 Clementine (Boston T errier) / Nikon D200 with Nikkor 50mm f/1.8, ISO 400, 1/60 sec. at f/1.8 SB-600 on-camera TTL mode. T able 6.2 T aking Animal and Pet Pictures Setup Practice Picture: In figure 6.
Animal and pet photography tips ✦ Be patient! Animals aren’t always the best subjects; they can be unpredictable and uncooperative. Have patience and shoot plenty of pictures, you never know what you’re going to get. ✦ Bring some treats. Sometimes animals can be compelled to do things with a little bribe.
Chapter 6 ✦ Real World Applications 117 Concer t Photography Doing concert photog raphy can be both frustrating and rewarding. Sometimes to get “the” shot, you have to get in and fight a crowd, blowing your eardrums out in the process and getting drinks spilled all over your gear .
Inspiration A good way to get your feet wet with con- cert photog raphy is to find out when your favorite band or performer is playing and bring your camera. Smaller clubs are usually better places to take good close-up photos. The key is to take pictures of what you like.
Chapter 6 ✦ Real World Applications 119 Concer t photography practice 6.9 Stacy Blades of L.A. Guns, the Red Eyed Fly , Austin, T X / Nikon D200 with T okina 19-3 5mm f/3.5- 4.5 set at 35mm, ISO 1 00, 0.3 sec. at f/ 4.5. SB-600 in wireless TTL B L mode built-in flash as commander .
120 P art II ✦ Creating Great Photos with the Creative Lighting System T able 6.3 T aking Concer t Pictures Setup Practice Picture: For figure 6.9, I got up to the front of the stage and kneeled down to get a low perspective. On Y our Own: T ry to find a unique perspective.
Concer t photography tips ✦ Experiment. Don’t be afraid to try different settings and long expo- sures. Long exposures enable you to capture much of the ambient light while freezing the subject with the short bright flash. ✦ Call the venue before you go.
Photographing events can be very tricky. T he lighting situations are varied, people are performing random acts, and you never know what may happen. Y ou have to keep on your toes and keep an eye open for whatever interesting situations may present themselves.
Chapter 6 ✦ Real World Applications 123 Inspiration During a business party or wedding, try to take photos of people having fun and enjoy- ing themselves. Catching the tone of the event is the essential job of the photographer. Be sure to move around and take photos from different angles.
Event and wedding photography practice 124 P art II ✦ Creating Great Photos with the Creative Lighting System 6.1 2 T exas Independence Day Memorial Service, T exas State Cemetery , Austin, T X / Nikon D7 0 with Nikkor 80-200mm f/2.8, ISO 200, 1/1 600 sec.
Chapter 6 ✦ Real World Applications 125 T able 6.4 T aking Event and Wedding Pictures Setup Practice Picture: This re-enactment soldier shown in figure 6.1 2 was loading his musket to prepare to fire volley in honor of the soldiers who fought for T exas’ Independence.
Event and wedding photography tips ✦ T ake lots of shots. When there is a lot of movement and action going on around you at an event, you never know what you may miss if you stop shooting during a demonstration or ceremony , for example. So, you might end up with the best picture of the day just when you were ready to put your camera down.
Chapter 6 ✦ Real World Applications 127 6.1 3 Jason Brooks, Rock of Ages T attoo Studio, Austin, T X / Nikon D200 with T amron 17 -50mm f/2.8. ISO 1 00, 1/60 sec. at f/2.8 at 29mm. SB-800 set to TTL BL bounced off the ceiling. www .jasonbrookstattoo.
Inspiration Find people with interesting lines of work, such as a chef , and photog raph him in his kitchen. Maybe photograph a welder or an artist standing near his or her latest piece. Y ou can find something interesting in almost any line of work.
Environmental por trait photography practice Chapter 6 ✦ Real World Applications 129 6.1 5 Chris, Secret Hideout Studios, Austin, T X / Nikon D7 0 with T amron 7 0-300mm f/ 4-5.6 – 70mm, ISO 3 60, 1/10 sec. at f/ 4.8 with SB-600 set to TTL. 12_045275 ch06.
130 P art II ✦ Creating Great Photos with the Creative Lighting System T able 6.5 T aking Environmental Portrait Pictures Setup Practice Picture: Figure 6.15 photo shows Chris, a metalworker , working on his latest project, a custom bike frame. T o g ive a better sense of what metalworking is about, I also wanted to show some action in the shot.
Group Photography Group photography is basically taking pic- tures of multiple people, ranging from cou- ples to entire companies. With more subjects comes more responsibility . Now, instead of having to pose one person, you have to pose multiple people.
Inspiration Family reunions and get-togethers are good place to start taking g roup portraits. Y ou can find subjects at pretty much any gathering with a lot of people. Parties, nightclubs, and social events can also be great places to photograph por traits of friends, couples, and families.
Group photography practice Chapter 6 ✦ Real World Applications 133 6.1 7 Leah, Dave, English Sarah, and Leslie at the Hole in the W all, Austin, TX / Nikon D200 with Nikkor 1 8-70mm f/3.5-4.5, ISO 2 00, 3 sec. at f/ 4.5 with SB-600 set to T TL BL. Camera set to rear curtain slow sync.
134 P art II ✦ Creating Great Photos with the Creative Lighting System T able 6.6 T aking Group Portrait Pictures Setup Practice Picture: Figure 6.18 is a promotional shot I did for the Addictions, a local rock band from Austin, TX.
Macro and Close-up Photography Macro and close-up are easily some of my favorite types of photography. Sometimes you can take the most mundane object and give it a completely different perspective just by moving in an varying perspective. Ordinary objects can become alien land- scapes.
In order to get the flash on-axis and closer to the subject when shooting insects or other small live creatures, I use the flash in the wireless remote setting, and handhold it next to the front of the lens. I hold the Speedlight to the left of the lens (because my right hand is holding the camera).
Inspiration My favorite subjects for macro photography are insects. I go to parks and wander around keeping my eyes open for strange bugs. Parks are also a great place to take macro pictures of flowers. Although these are the most common subjects, by no means are they the only subjects you can take pictures of .
Macro and close-up photography practice 138 P art II ✦ Creating Great Photos with the Creative Lighting System 6.21 Milk drop / Nikon D7 0 with Nikkor 80-200 f/2.8. ISO 2 00, 1/500 sec. at f/2 0 with two SB-800’s set to Manual, 1/1 6 power, fired via PC sync cord.
Chapter 6 ✦ Real World Applications 139 T able 6.7 T aking Macro and Close-up Pictures Setup Practice Picture: Figure 6.22 is an amazing red dragonfly I found perched on a stem while leaving the Zilker Botanical Gardens.
Nature and W ildlife Photography Photographing wildlife is a fun and reward- ing pastime that can also be intensely frus- trating. If you know what you want to photograph it can mean standing out in the freezing cold or blazing heat for hours on end, waiting for the right animal to show up.
Opportunities to take wildlife pictures can occur when you’re out hiking in the wilder- ness or maybe when you’re sitting out on your back porch enjoying the sunset. With a little perseverance and luck you can get some great wildlife images just like the ones you see in National Geographic .
Inspiration Y ou can go to wildlife reserves, a zoo, or even your backyard to find “wildlife. ” I tend to go the easy route, going to places where I’m pretty sure to find what I’m looking for . For example, while driving through Louisiana recently , I saw a sign that for an alligator swamp tour .
Nature and wildlife photography practice Chapter 6 ✦ Real World Applications 143 6.25 Armadillo, Barton Creek Greenbelt, Austin, TX / Nikon D200 with Macro- T akumar 50mm f/ 4. ISO 400, 1/60 sec. at f/5.6 with the SB-600 set to TTL and fired wirelessly via built-in Speedlight.
When photographing animals, be careful! Wild animals can be unpredictable and aggressive when cornered. Give them their space and try not to disrupt the animal’s routine. Nature and wildlife photography tips ✦ Use a long lens. Whenever possi- ble, use a long telephoto lens.
Night P or trait Photography When photographing a portrait at night, remember that while the Speedlight is used to illuminate your subject, it is not enough to illuminate the background. In order to get enough light to allow the background to be properly exposed, you need to use a longer shutter speed.
Inspiration Going to areas where there’s a lot of nightlife can be a great place to find people to pose for portraits for you. Look for people having fun and enjoying themselves. I’ve never been turned down when asking someone if I could take his or her picture.
Night por trait photography practice Chapter 6 ✦ Real World Applications 147 6.28 Sky Lounge, Austin, TX / Nikon D7 0 with T okina 1 9-35mm f/3.5-4.5 35mm. ISO 2 00, 2 sec. at f/7 .1 with the SB-600 set to T TL BL and the camera set to Slow Sync. 12_045275 ch06.
Night por trait photography tips ✦ Bring a tripod. A tripod helps keep the camera steady for the long exposures. ✦ Use a higher ISO. A high I S O helps keeps the shutter speed a lit- tle faster so your subject won’t be blurry . ✦ Find an interesting background.
Outdoor P or trait Photography Creating portraits outdoors can mean pho- tographing your subject anywhere from a backyard, to a park, or even a jungle.
Inspiration Look for areas that create interesting pat- terns for the background. Foliage and flow- ers can create nice patterns and add a splash of color .
Outdoor por trait photography practice Chapter 6 ✦ Real World Applications 151 6.31 Ashley , Lake T ravis, Austin, T X / Nikon D7 0 with T amron 7 0-300mm f/ 4-5.6 at 1 1 0mm. I S O 200, 1/1 60 sec. at f/5.6 with the SB-600 set to TTL B L. 12_045275 ch06.
Outdoor por trait photography tips ✦ Shoot early in the morning or late in the afternoon. The sunlight when the sun is rising or setting can give your subjects a pleasing warm tone. When the sun is high in the sky during the mid-afternoon hours, the light is often harsh and can cause severe shadows.
Still Life and Product Photography In still life and product photography, lighting is the key to making the image work. Y ou can set a tone using creative lighting to con- vey the feeling of the subject. Y ou can also use lighting to show texture, color , and form to turn a dull image into a great one.
Inspiration When searching for subjects for a still life shot, try using some personal items. Objects such as jewelry or watches, a collection of trinkets you bought on vacation, or even seashells you brought home from the beach. If you’re interested in cooking try photographing some dishes you prepared.
Still life and product photography practice Chapter 6 ✦ Real World Applications 155 6.34 F avorite shoes / Nikon D70 with Nikkor 1 8-7 0 f/3.5-4.5 at 30mm. ISO 2 00, 1/500 sec. at f/1 1 with one SB-800 and one SB-600 both set to T TL. T able 6.1 1 T aking Still Life and Product Pictures Setup Practice Picture: For figure 6.
Still life and product photography tips ✦ Keep it simple. Don’t try to pack too many objects in your composi- tion. Having too many objects for the eye to focus on can lead to a confusing image. ✦ Use items with bold colors and dynamic shapes. Bright colors and shapes can be eye-catching and add interest to your composition.
Studio P or trait Photography Shooting portraits in the studio involves more set up than other types of portrait photography. W hether your studio is in a set location or it’s portable, the setup usually includes a background with stands, at least two lights with stands, umbrellas or soft- boxes, reflectors, and so forth.
158 P art II ✦ Creating Great Photos with the Creative Lighting System 6.35 Sara / Nikon D2 00 with Nikkor 80-200mm f/2.8 at 86mm. ISO 1 00, 1/250 sec. at f/ 4 with the SB-800 Set to T TL exposure compensation +1 bounced from an umbrella. Inspiration When photographing studio portraits, I often have subjects go for a more glam- orous look.
Another good source of models are actors and models who are just starting out in the business. They are often willing to trade time for prints, better known as TFP or since the advent of digital, TFCD. It’s a good way to get your portfolio built up without having to pay for models.
Studio por trait photography practice 6.3 7 Montage Salon, Las V egas, NV / Nikon D7 0 with Nikkor 80-200mm f/2.8 at 80mm. ISO 2 00, 1/500 sec. at f/5.6, with two SB-600’s controlled via D7 0 built-in Speedlight. 160 P art II ✦ Creating Great Photos with the Creative Lighting System 12_045275 ch06.
Chapter 6 ✦ Real World Applications 161 T able 6.1 2 T aking Studio Portrait Pictures Setup Practice Picture: I set up my por table studio at the back of Salon Square in Las V egas, NV to shoot some photographs. Figure 6.37 is just one of many I took that day .
Studio por trait photography tips ✦ Use a long lens. Long lenses flat- ten your subject’s features by reducing the apparent distance, which is the distance objects look from each other from a certain per- spective.
7 7 CHAPTER Simple P osing for Great P or traits O ne of the most important aspects of portrait photog- raphy is knowing how to pose your subjects. If your model looks awkward or uncomfortable, your por trait isn’t going to be a success. The key to a good portrait is having the model look natural.
created by masters of long ago. T o be fair , portrait photog raphy has taken the art form further, some say by leaps and bounds. A lit- tle combination of both styles goes a long way . Whether it is classic or cutting edge portrai- ture, some rules remain the same.
When making changes to a per- son’s posture, try not to make the changes dramatic. Usually , just a slight turn and tilt of the head does the trick. Y ou don’t want to have the pose appear overdone.
shift his or her weight to the leg closest to the camera with one leg crossing the other . This creates a slight lean that looks very natural in most cases. Clothing can also contribute to or hinder your efforts to illustrate a thinner appear- ance to your subject.
Positioning the head and neck. The final step is positioning of the head. Simple adjustments, such as having the head tilted slightly or resting on an object, can add an artistic effect to any por trait.
point where you need to ask your subjects to focus their gaze toward the camera. For some portraits, you want subjects to direct their eyes in another direction.
In addition to paying close attention to the eyes, other areas of the head are important as well. Y ou already know about tilting the head, but you also need to consider hair posing your subjects. For individuals with long hair , make sure you have enough room in your frame to showcase that part of the person.
Necks often reflect weight or age of a subject. T o achieve a pleasing portrait, consider either hiding portions of the neck with clothing or positioning the por- trait to reduce the amount of the person’s neck included. A good technique to use to reduce dou- ble chins is to have your subject slightly tip his or her head upward.
P ositions to Avoid When it comes to posing, there are a num- ber of techniques to avoid, and even more techniques you need to take into considera- tion. A few techniques to avoid include: ✦ T r y not to use the typical year- book pose excessively .
Casual por trait posing A favorite type of posing is the type where you’re capturing the subject just as he would be positioned in everyday life: play- ing the piano, watching TV , or lounging around home. The goal with casual posing is to capture the image of the subject as if there were no posing at all.
the head resting on a wall or chair , or legs crossed when sitting. Any posture where the subject looks relaxed elicits a casual pose. T raditional poses T raditional posing is often referred to as “yearbook,” or conservative posing, but it does definitely have its place in the portrait world.
subjects at all. Just let them do their thing and capture their images as they would be in their natural environment. This type of portraiture is more commonly known as an environmental portrait.
Naturally , glamour photog raphs are used capturing images to either appeal to the opposite sex or to be used in magazines or other types of printed material to evoke a feeling of sexiness that compels consumers to buy .
In addition to glamour photographs used in magazines or advertising, there is also a very large following of glamour photography as an art form. Ar tistically , the human form is a favorite subject for many photographers and art collectors. Creative possibilities are endless with so many different types of faces in the world to choose from.
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GL GL Glossar y A E (Auto-Exposure) A general purpose shooting mode where the camera selects the aperture and shutter speed to its metered reading. On some cameras, the aperture, shutter , and I SO settings are automatically set. AE/AF lock A camera setting that lets you lock the current exposure and/or autofocus setting prior to taking a photo.
catchlight Using the SB-800’s catchlight panel while pointing the flash head straight up provides the light needed to highlight a portrait subject’s eyes and a small amount of fill flash.
exposure mode Camera settings that let the photographer take photos in automatic mode, shutter priority mode, aperture prior- ity mode, and manual mode. When set to aperture priority, the shutter speed is auto- matically set according to the chosen aper- ture (f-stop) setting.
dependent on the ISO sensitivity , aper ture setting and zoom head position. flash sync mode Set in conjunction with camera settings, flash photos can be taken in either front curtain or rear cur tain sync. For most flash photos, the default is front curtain sync.
master When using multiple Speedlights in a wireless flash configuration, the master flash unit is the one mounted on the cam- era. It controls the flash output of all remote units. The built-in Speedlights of some cam- era models can also act as a master flash.
Programmed auto (P) W hen using a Speedlight with a compatible camera set to Programmed auto the shutter speed is auto- matically set to the camera’s sync shutter speed when using flash. On the camera, the shutter speed and aperture are automati- cally made when the subject is focused.
A A APP ENDIX Resources T here is a lot of valuable information available on the Internet for photographers. This appendix is a resource to help you discover some of the many ways to learn more about the Nikon Creative Lighting System and about photog- raphy in general.
W orkshops There are a multitude of different work- shops that offer training for photographers. Here is a list of some of the different work- shops that are available to you. Anderson Ranch Ar ts Cent er www.andersonranch.org Ansel Adams Gallery Workshops www.
Outdoor Photographer www.outdoorphotographer.com Photo District News www.pdnonline.com Popular Photography & Imaging http://popphoto.com Shutterbug www.
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Symbols & Numbers +/- buttons, 22 3D balanced fill-flash, 32 3D Multi Sensor metering. See TTL metering system A AA batteries, 29, 50 AA flash mode.
190 Index ✦ B—C background(s) (continued) controlling, 157 discussed, 92 interesting, 148 muslin backdrops, 93–94 plain, 173 for portable studio, 92–95 seamless paper backdrops, 92–93 stands.
Index ✦ C—D 191 practice exercises for , 139 tips for , 140 clothing, affecting posing, 166 cloudy bright sunlight, 103 CLS. See Nikon Creative Lighting System color temperature automatic white ba.
distance affecting exposure specifications, 71, 73 for bounce flash, 67 from subject, 67 distance-priority manual flash mode availability of, 24, 25 in SB-800, 11 down button (SB-800), 15 DTTL fla.
non-TTL Auto flash, 14, 24, 25, 33 repeating, 11 repeating flash, 33–34 in SB-600, 22 in SB-800, 11 setting, 69 setup for , 80–81 TTL, 32 for wireless flash photography , 80–81 flash mount softboxes, 90 flash photography .
indoor studios discussed, 95 outdoor photography vs., 149 for portraits, 95–96 setup for , 95–96 space requir ements for , 95–96, 102 informational web sites, 186 Inverse Squire Law , 71 ISO settings for concert photography , 117 of D70/D70S, 102 Guide Number and, 11 high, 102 i-TTL balanced fill flash.
D70/D70S as, 78–79 D200 as, 78–79 defined, 34 SB-800 as, 78–79, 80–82 SB-800 Speedlight as, 40 setup for , 34, 78–79 SU-800 commander unit in, 40 for wireless flash photography , 78–79 Mentor Series, 186 midsection, posing for , 165–166 minus button.
outdoor portrait photography discussed, 149 indoor photography vs., 149 inspiration for , 150 lighting for , 60 practice exercises for , 152 SB-600 Speedlight for , 102 SB-800 Speedlight, 102 tips for.
posing of arms and hands, 166 basic techniques for , 164–165 casual, 172–173 discussed, 163 glamour style, 174–176 of groups, 131–135 of head and neck, 167–170 instructing subject for , 171 .
repeating flash mode discussed, 33–34 in SB-800, 11 reversing rings, 140 right button (SB-800), 16 Rocky Mountain Photo Adventures, 186 rotating/tilting flash head in SB-600 Speedlight, 18 in SB-8.
shoulder bags, 104 shoulders, posing of, 164, 166 shutter speed, for action/sports photography , 109 Shutterbug, 187 simplicity , 156 SJ-800 colored filter set (SB-800), 17 slow sync for night portra.
SU-800 commander unit adjusting output compensation on, 40 in Commander mode, 40 discussed, 26 subject for bounce flash, 67 distance from, 67 inspiration from, 131 sunlight bright, 102–103 cloudy ,.
white balance automatic, 64 control of, 65 discussed, 62 in flash photography , 62–65 preset, 62–65, 64–65 RA W mode and, 65 setting, 69 wide-angle lens adapter in SB-600, 20 for SB-800, 14 wid.
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