I AM THE NIKON TOTAL DIGITAL IMAGING SYSTEMSiam.nikon-asia.com

I AM FULL OF POSSIBILITIES

The

Nik

on T

otal

Dig

ital

Imag

ing

Syst

em:

Let

you

r im

agin

atio

n be

you

r gu

ide

Nik

on is

pro

ud to

brin

g yo

u its

late

st in

carn

atio

n of

the

Nik

on T

otal

Dig

ital I

mag

ing

Sys

tem

, ful

l of

phot

ogra

phic

exc

item

ent,

answ

ers

and

insp

iratio

n.

With

in th

ese

page

s yo

u w

ill fi

nd e

very

thin

g yo

u ne

ed to

real

ize

your

pre

sent

idea

s an

d in

spire

new

on

es. W

heth

er y

ou a

re a

sea

sone

d pr

ofes

sion

al o

r a

pass

iona

te w

eeke

nd s

hoot

er, w

e ar

e co

nfide

nt

that

the

cont

ents

of t

his

broc

hure

can

hel

p yo

u cr

aft

bette

r im

ages

. Eve

ry it

em is

des

igne

d sp

ecifi

cally

to

wor

k w

ith N

ikon

cam

eras

, whi

ch m

eans

a

seam

less

per

form

ance

that

trul

y br

ings

out

the

best

in y

ou a

nd y

our

Nik

on D

-SLR

. Got

an

idea

? M

ake

it ha

ppen

. Her

es

whe

re y

ou s

tart

.

TA

BL

E O

F C

ON

TE

NT

Sn

Why

mor

e lig

ht?

pp4-

5n

See

wha

t jus

t one

Spe

edlig

ht c

an d

o

pp6-

7n

Mag

nify

your

pot

entia

l with

mul

tiple

Spe

edlig

hts

pp

8-9

n M

any f

eatu

res,

unlim

ited

poss

ibilit

ies

pp10

-11

n T

he N

ikon

Crea

tive

Light

ing

Syst

em: L

ineu

p pp

12-1

3n

The

Niko

n Cr

eativ

e Lig

htin

g Sy

stem

: Co

ncep

t & c

ompa

tibilit

y pp

14-1

5n

NEF

and

Cap

ture

NX

2

pp16

-18

n C

amer

a Co

ntro

l Pro

2

p19

n B

atte

ry p

acks

, bat

terie

s, ba

ttery

cha

rger

s and

AC

adap

ters

p2

0n

Wire

less

tran

smiss

ion

acce

ssor

ies a

nd G

PS u

nit

p21

n R

emot

e co

rd a

cces

sorie

s, m

icro

phon

e an

d fil

ters

p2

2n

Vie

win

g at

tach

men

ts a

nd c

lose

-up

acce

ssor

ies

p23

n S

yste

m c

ompa

tibilit

y p2

4

This

imag

e w

as a

chie

ved

via

the

Cre

ativ

e Li

ghtin

g S

yste

m a

nd th

e ph

otog

-ra

pher

s im

agin

atio

n.

Two

Spe

edlig

ht u

nits

th

at s

uppo

rt A

dvan

ced

Wir

eles

s Li

ghtin

g (o

ne in

th

e ka

yak

and

one

from

ab

ove)

wer

e w

irel

essl

y tr

igge

red

with

a p

rope

rly

posi

tione

d S

U-8

00 to

se

nd c

omm

and

sign

als

to

both

rem

ote

units

.

Joe

McN

ally

45

Why

mor

e lig

ht?

Its

easy

to u

nder

stan

d th

e ne

ed fo

r a fl

ash

in lo

w-li

ght

shoo

ting

scen

ario

s, b

ut N

ikon

Spe

edlig

hts

are

also

ex

trem

ely

help

ful i

n da

ytim

e si

tuat

ions

with

brig

ht s

unlig

ht

and

deep

sha

dow

. The

add

ition

al li

ght h

elps

cam

eras

ca

ptur

e w

hat o

ur e

yes

see

so w

ell.

Its

easy

to fo

rget

that

th

e hu

man

eye

is a

rem

arka

ble

optic

al in

stru

men

t, re

gis-

terin

g le

vels

of c

ontr

ast b

etw

een

high

light

and

sha

dow

im

poss

ible

for c

amer

as to

det

ect.

With

add

ition

al li

ght

at y

our c

omm

and,

you

can

fill

in th

e sh

adow

s an

d re

duce

th

e co

ntra

st y

ou s

ee t

o w

ithin

the

ran

ge t

hat

your

ca

mer

as

imag

e se

nsor

can

reco

rd. T

he c

amer

as

built

-in

flash

is o

ften

sui

tabl

e, b

ut th

e di

rect

, fro

ntal

ligh

t can

be

too

hars

h fo

r fine

det

ail,

leav

ing

som

e im

ages

with

flat

,

over

expo

sed

area

s. A

sim

ple

wire

less

, off

-cam

era

flash

fr

om th

e si

de, h

owev

er, p

rovi

des

adde

d de

pth

as w

ell

as s

moo

th, r

ound

ed to

nes

from

hig

hlig

ht to

sha

dow

(as

show

n in

the

cent

er p

ictu

re b

elow

). Pe

rhap

s th

e m

ost

pow

erfu

l arg

umen

t for

add

ition

al li

ght i

s ae

sthe

tic: o

ne o

r m

ore

stra

tegi

cally

pla

ced

Spee

dlig

hts

can

tran

sfor

m th

e m

ood

of y

our p

hoto

grap

h in

way

s av

aila

ble

light

is u

nabl

e

to. S

peed

light

s ca

n qu

ickl

y an

d ea

sily

turn

taki

ng s

naps

hots

in

to c

reat

ing

imag

es t

hat

refle

ct t

he o

rigin

al m

eani

ng

of t

he w

ord

pho

togr

aphy

dra

win

g w

ith li

ght.

Tur

n w

here

ver y

ou a

re in

to y

our o

wn

pers

onal

stu

dio.

Wor

k-in

g se

amle

ssly

and

wire

less

ly w

ith y

our N

ikon

D-S

LR, t

he

Nik

on C

reat

ive

Ligh

ting

Syst

em m

akes

it e

asy.

A m

odel

in s

hado

w a

gain

st a

brig

ht

back

grou

nd p

hoto

grap

hed

with

out S

peed

light

. Mat

rix

met

erin

g. N

o ex

posu

re

com

pens

atio

n. E

xpos

ure

is w

ell b

alan

ced,

but

the

pict

ure

lack

s im

pact

.

Opp

osite

pag

e: A

third

Spe

edlig

ht is

em

ploy

ed h

ere

from

beh

ind

the

mod

el.

Att

ache

d to

the

supp

lied

Spee

dlig

ht s

tand

on

the

grou

nd, T

he S

peed

light

s fl

ash

head

is ti

lted

45 u

pwar

d. T

his

third

ligh

t cre

ates

the

shim

mer

ing

light

aro

und

her h

air a

nd s

houl

ders

and

hel

ps s

epar

ate

her f

rom

the

back

grou

nd.

J

oe M

cNal

ly

The

sam

e m

odel

pho

togr

aphe

d w

ith o

ne o

ff-c

amer

a Sp

eedl

ight

. Not

ice

the

riche

r, m

ore

satu

rate

d co

lor.

The

Spee

dlig

ht

fired

from

cam

era

left

in

an a

ngle

d po

sitio

n (4

5)

to c

reat

e de

pth.

Add

ing

a se

cond

Spe

edlig

ht fr

om

abov

e an

d bo

unci

ng it

off

of

a re

flect

or fr

om b

e-lo

w. S

tron

g sh

adow

fr

om th

e m

odel

s

neck

is re

mov

ed.

Nik

on C

reat

ive

Ligh

ting

Syst

em:

Eas

ily a

ccom

plis

h st

udio

qua

lity

phot

ogra

phs v

irtu

ally

any

whe

re

One

str

ong

light

from

ou

tside

a w

indo

wW

orld

-reno

wne

d ph

otoj

ourn

alis

t Joe

M

cNal

ly h

as s

ome

advi

ce w

hen

taki

ng

pict

ures

. Th

e m

ost i

mpo

rtan

t thi

ng is

to

first

see

the

pict

ure

in y

our m

ind

s ey

e,

he s

ays,

Ev

eryt

hing

com

es n

atur

ally

fr

om th

ere,

suc

h as

whe

re to

pla

ce th

e ca

mer

a an

d ho

w to

ligh

t you

r sub

ject

.

Whi

le s

hoot

ing

high

-sch

ool a

thle

tes

in a

lock

er ro

om, J

oe e

nvis

ione

d a

pict

ure

of

his

subj

ect i

n go

lden

, lat

e af

tern

oon

light

. To

cre

ate

the

right

env

ironm

ent,

he p

osi-

tione

d a

cam

era

low

usi

ng a

wid

e-an

gle

lens

. The

n, h

e pl

aced

one

Spe

edlig

ht o

ut-

side

the

win

dow

, dis

tanc

ed fa

r eno

ugh

to

crea

te d

eep

shad

ows

acro

ss th

e lo

cker

s.

Usi

ng a

Col

or F

ilter

in o

rder

to w

arm

the

light

app

ropr

iate

ly a

nd z

oom

ing

the

flash

he

ad to

200

mm

to c

once

ntra

te th

e lig

ht

on th

e at

hlet

e, M

cNal

ly re

crea

ted

the

shoo

ting

situ

atio

n th

at h

ed

first

con

-st

ruct

ed in

his

imag

inat

ion.

The

pic

ture

ab

ove

look

s lik

e it

was

take

n in

the

natu

ral

light

of a

late

aft

erno

on, b

ut in

act

ualit

y w

as s

hot u

sing

a N

ikon

Spe

edlig

ht,

help

ing

to m

aint

ain

Gol

den

Hou

r

light

ing

for a

s lo

ng a

s de

sire

d. W

ith ju

st

one

Spee

dlig

ht, t

he le

vel o

f nua

nce

to

expl

ore

is a

stou

ndin

g.

67

Bea

utif

ul s

oft l

ight

bo

unce

d of

f a w

all

Kid

s ha

ve th

eir o

wn

agen

da, e

ven

whi

le I

m s

hoot

ing,

sa

ys c

hild

pho

tog-

raph

er K

athy

Wol

fe,

one

of th

e ke

y pr

inci

ples

of p

hoto

grap

hing

chi

ldre

n is

sp

eed.

W

olfe

has

to fi

nd q

ualit

y lig

ht

fast

or q

uick

ly c

reat

e he

r ow

n w

hen

need

ed, s

uch

as w

hen

in a

low

-lit r

oom

w

hile

her

chi

ld m

odel

s re

mai

n

coop

erat

ive.

The

ligh

t and

rem

arka

bly

port

able

Nik

on S

peed

light

s ar

e al

way

s in

her

cam

era

bag.

How

she

wor

ks w

ith

the

Nik

on C

reat

ive

Ligh

ting

Syst

em

(CLS

) is

sim

ple

but w

hat s

he g

ets

is s

ig-

nific

ant.

She

tilts

the

flash

hea

d of

a h

ot-

shoe

d Sp

eedl

ight

tow

ard

a w

hite

wal

l fo

r a b

ounc

e-fla

sh e

ffec

t. Th

is s

impl

e ac

t can

tran

sfor

m h

arsh

ligh

t int

o a

soft

, sm

ooth

glo

w. A

ny la

rge,

whi

te s

urfa

ce

can

act a

s an

impr

ompt

u lig

ht-s

ofte

ning

de

vice

a

sim

ple

tech

niqu

e th

at re

sults

in

rich

er c

olor

s lik

e th

ose

you

see

here

. W

olfe

alm

ost a

lway

s us

es th

e i-T

TL

flash

mod

e. T

hat w

ay th

e in

nova

tive

Cre

ativ

e Li

ghtin

g Sy

stem

cal

cula

tes

idea

l fla

sh e

xpos

ures

for

her

aut

omat

ical

ly,

fram

e af

ter

fram

e, a

llow

ing

her

to

conc

entr

ate

on c

aptu

ring

the

mom

ent.

See

wha

t jus

t one

Spe

edlig

ht c

an d

o

On-c

amer

a bo

unce

Spee

dlig

ht

SU-8

00co

mm

ande

r

TTL

Rem

ote

Cord

hot

-sho

ed

with

cam

era

The

Spee

dlig

hts

flas

h bo

unce

s of

f the

larg

e w

hite

wal

l be

hind

the

phot

ogra

pher

, wra

ppin

g th

is lo

w-li

t roo

m

with

sof

t lig

ht.

Use

you

r su

rrou

ndin

gs a

s a

light

-sha

ping

too

l: a

Spe

edlig

ht p

lace

d ou

tsid

e th

e w

indo

w r

ecre

ates

w

arm

, lat

e af

tern

oon

light

.

Wire

less

rem

ote

flash

from

the

right

sid

e of

the

cam

era

eras

es u

nwan

ted

shad

ows

cast

on

the

wal

l by

the

win

dow

ligh

t fro

m th

e le

ft.

K

athy

Wol

fe

Even

with

a s

ingl

e Sp

eedl

ight

, cou

ntle

ss c

ombi

natio

ns

of s

ubtle

ty a

nd n

uanc

e ca

n be

exp

lore

d.

Joe

McN

ally

K

athy

Wol

fe

Joe

McN

ally

89

Mag

nify

you

r pot

entia

l with

mul

tiple

Spe

edlig

hts

Sec

onda

ry fl

ash

from

be

hind

for

a be

auti

ful

halo

of l

ight

I

n or

der t

o ca

ptur

e im

port

ant e

vent

s as

th

ey h

appe

n w

ithou

t dis

trac

tions

, a w

ed-

ding

pho

togr

aphe

r mus

t be

flexi

ble

and

unob

trus

ive.

H

elpf

ul w

ords

from

Clif

f M

autn

er, o

ne o

f the

pro

fess

ion

s m

ost

resp

ecte

d pr

actit

ione

rs. H

ow h

e us

es

the

Nik

on C

reat

ive

Ligh

ting

Syst

em is

both

sim

ple

and

stra

tegi

cally

eff

ectiv

e.

All

he n

eede

d to

cre

ate

text

ure,

dim

en-

sion

and

moo

d in

the

imag

e ab

ove

was

an

off

-cam

era

flash

fire

d fr

om th

e le

ft

side

of t

he fr

ame.

Wire

less

con

trol

and

i-T

TL m

ake

it ea

sy. T

o ge

t sof

t lig

ht in

si

tuat

ions

whe

re re

flect

ors

or a

whi

te

ceili

ng a

re n

ot a

n op

tion,

Clif

f tilt

s th

e fla

sh h

ead

90 d

egre

es u

pwar

d

or

even

bac

kwar

d

to

feat

her

the

light

, so

ften

ing

a ha

rsh

flash

to fi

t the

sce

ne

beau

tiful

ly. T

his

way

he

adds

just

the

right

am

ount

of l

ight

to s

how

the

clea

r rid

ge o

f the

brid

es

profi

le in

the

pict

ure

abov

e. T

o op

en u

p th

e sh

adow

s in

the

brid

es

veil,

he

intr

oduc

es a

sec

ond

light

fr

om b

ehin

d. T

his

is s

et in

a d

iffer

ent

grou

p th

an th

e m

ain

flash

, whi

ch m

eans

th

at h

e ca

n tu

rn it

on

and

off f

ro m

his

ca

mer

a se

amle

ssly

, and

with

out d

istu

rb-

ing

his

subj

ect.

Smal

l, pr

ecis

e lig

htin

g ar

ound

the

subj

ect t

o

reve

al d

etai

lI

am

add

icte

d to

ligh

t. It

neve

r sto

ps

surp

risin

g m

e,

says

stil

l life

pho

togr

aphe

r Yv

es P

ater

nost

er,

It tr

uly

is a

gam

e of

in

ches

, cha

ngin

g th

e lo

ok a

nd m

ood

of

my

pict

ures

dep

endi

ng o

n w

here

I pl

ace

it.

As

a st

udio

sho

oter

, Pat

erno

ster

like

s to

take

the

kind

of l

ight

you

find

out

door

s an

d us

e it

insi

de a

stu

dio

envi

ronm

ent,

repl

icat

ing

natu

ral l

ight

by

crea

tive

use

of fl

ashe

s. T

he R

1C1

Clo

se-u

p Sp

eedl

ight

Com

man

der K

it do

es th

is

and

mor

e.

It m

akes

me

crea

tivel

y br

ave,

he

say

s, a

ddin

g W

ell,

I fee

l tha

t it

can

mak

e an

yone

cr

eativ

ely

brav

e.

The

SB-R

200

flash

un

its th

at w

ork

with

the

SU-8

00 a

re s

mal

l and

wire

less

, so

phot

ogra

pher

s lik

e Pa

tern

oste

r can

pla

y ar

ound

with

ligh

t fre

ely

by h

andh

oldi

ng

the

unit

in d

iffer

ent p

ositi

ons

to g

et

exac

tly th

e ef

fect

they

wan

t. A

lthou

gh

he w

as s

atis

fied

with

a p

artic

ular

flo

wer

pic

ture

take

n w

ith a

sin

gle

flash

un

it, h

e de

cide

d to

exp

lore

diff

eren

t po

ssib

ilitie

s by

intr

oduc

ing

a se

cond

lig

ht s

ourc

e. W

hat h

e di

d w

as s

impl

e,

but w

hat h

e ac

hiev

ed w

as a

pow

erfu

l ne

w a

ltern

ativ

e sh

ot, a

s yo

u ca

n se

e ab

ove.

Whi

le in

tuiti

ve c

ontr

ol is

a b

ig

adva

ntag

e of

the

syst

em, t

he a

bilit

y to

con

trol

ligh

t pre

cise

ly

as

requ

ired

in n

orm

al s

tudi

o lig

htin

g

is o

f gre

at

impo

rtan

ce. A

s yo

u ca

n se

e fr

om th

e pi

ctur

e on

the

right

, the

R1C

1 pl

us

thre

e ad

ditio

nal S

B-R

200

units

let y

ou

illum

inat

e ex

actly

whe

re y

ou w

ant o

n ve

ry s

mal

l obj

ects

. The

sys

tem

is li

ke

a po

rtab

le p

ocke

t-siz

ed s

tudi

o, b

ut th

e

leve

l of p

reci

sion

can

stil

l am

aze

even

se

ason

ed s

tudi

o ph

otog

raph

ers.

One

rem

ote

unit

is h

andh

eld

by a

pho

togr

aphe

rs

assi

stan

t at a

n an

gled

pos

ition

, cre

atin

g te

xtur

e an

d di

men

sion

.

Take

n w

ith o

ne S

peed

light

Pla

ying

with

ligh

t: h

ere,

in a

dditi

on t

o th

e sm

all

SB

-R20

0 ab

ove,

ano

ther

SB

-R20

0 is

han

dhel

d to

ill

umin

ate

the

flow

ers

from

bel

ow.

Mai

n lig

ht fr

om th

e ca

mer

as

left

illu

min

ates

the

brid

es

face

. A s

econ

d lig

ht fr

om b

ehin

d th

e su

bjec

t rev

eals

de

tails

in th

e ve

il.

Clif

f Mau

tner

Spee

dlig

ht g

roup

ASp

eedl

ight

gro

up B

SU-8

00 o

n-ca

mer

a co

mm

ande

r

C

liff M

autn

er

Yve

s Pa

tern

oste

r

Y

ves

Pate

rnos

ter

Y

ves

Pate

rnos

ter

i-TTL

bal

ance

d fil

l-flas

h

Just

the

righ

t am

ount

of l

ight

for w

ell-b

alan

ced

fore

grou

nd

and

back

grou

nd e

xpos

ure

Incr

edib

ly u

sefu

l in

varie

d or

unp

redi

ctab

le li

ghtin

g, t

he

inno

vativ

e i-T

TL s

yste

m d

eliv

ers

cons

iste

ntly

acc

urat

e fla

sh

expo

sure

s au

tom

atic

ally

. Whe

neve

r you

r Nik

on d

igita

l SLR

is

set t

o ei

ther

3D

col

or m

atrix

met

erin

g II/ I

II or

cen

ter-w

eigh

ted

met

erin

g, y

our S

peed

light

aut

omat

ical

ly re

adie

s i-T

TL to

del

iver

bal

ance

d fil

l-flas

h. In

this

mod

e, a

m

onito

r pre

-flas

h fir

es m

icro

seco

nds

befo

re th

e ac

tual

flas

h, a

ccur

atel

y in

form

ing

the

Spee

dlig

ht

on th

e la

test

sce

ne in

form

atio

n. E

ven

for d

ifficu

lt sc

enes

suc

h as

bac

klit

subj

ects

, the

flas

h co

mes

th

roug

h w

ith w

ell-b

alan

ced

expo

sure

s ac

ross

the

fram

e an

d av

oids

ove

rexp

osin

g th

e su

bjec

t.

1011

Man

y fe

atur

es, u

nl im

ited

poss

ibili

ties

Auto

FP h

igh-

spee

d sy

nc

Sha

llow

dep

th-o

f-fie

ld fo

r por

trai

ts in

bri

ght c

ondi

tions

Whe

n sh

ootin

g a

port

rait

unde

r har

sh li

ghtin

g su

ch a

s th

e

noon

day

sun,

the

light

ing

cond

ition

s m

ay fo

rce

you

to u

se f/

11

or a

n ev

en s

mal

ler a

pert

ure,

whi

ch m

ay n

ot re

nder

the

port

rait

you

re lo

okin

g fo

r. A

uto

FP h

igh-

spee

d sy

nc le

ts y

ou m

ove

past

yo

ur c

amer

as

norm

al s

ync

spee

d of

aro

und

1/20

0 or

1/2

50 s

econ

d to

sho

ot a

t muc

h fa

ster

shu

tter

spe

eds

a

s hi

gh

as y

our c

amer

a is

cap

able

of

ena

blin

g th

e us

e of

larg

er a

pert

ures

suc

h as

f/2.

8 fo

r a b

eaut

ifully

sh

allo

w fo

cal p

lane

, whi

ch lo

oks

grea

t in

port

raits

. H

igh-

spee

d sy

nc a

lso

wor

ks w

hen

stop

ping

act

ion

at h

igh

noon

.

Flas

h Va

lue

(FV)

lock

Mai

ntai

n fla

sh e

xpos

ure

in c

onst

antly

cha

ngin

g lig

htin

g

cond

ition

s

The

FV lo

ck h

elps

you

mai

ntai

n th

e sa

me

flash

val

ue fo

r cor

rect

ex

posu

res

durin

g a

sequ

ence

of p

hoto

grap

hs. T

his

allo

ws

you

to z

oom

in o

n yo

ur s

ubje

ct, c

hang

e th

e co

mpo

sitio

n or

adj

ust

the

aper

ture

, all

with

out a

lterin

g yo

ur in

tend

ed e

xpos

ure.

The

pi

ctur

es h

ere

wer

e ta

ken

usin

g FV

lock

. Not

ice

how

the

flash

out

put v

alue

rem

ains

the

sam

e,

even

whe

n a

high

ly re

flect

ive

surf

ace

(of t

he tr

ain)

en

ters

the

fram

e. T

his

way

you

can

con

cent

rate

on

cap

turin

g yo

ur s

ubje

ct w

ithou

t wor

ryin

g ab

out

adju

stin

g yo

ur s

ubje

cts

ligh

ting.

Aut

o FP

hig

h-sp

eed

sync

for s

hallo

w d

epth

-of-

field

K

athy

Wol

fe

Flas

h ou

tput

rem

ains

the

sam

e w

ith F

V lo

ck a

ctiv

ated

J

oe M

cNal

ly

i-TTL

bal

ance

d fil

l flas

h

Joe

McN

ally

Nor

mal

syn

c fo

r dee

p de

pth-

of-fi

eld

Rear

-cur

tain

sync

Cre

ate

a se

nse

of m

otio

n w

ith in

tend

ed b

lur

Whe

n us

ing

rear

-cur

tain

syn

c m

ode,

a fl

ash

fires

at t

he v

ery

end

of a

n ex

posu

re in

stea

d of

at t

he b

egin

ning

. Whe

n yo

u ar

e sh

ootin

g at

1/3

0 se

cond

or s

low

er, t

he im

age

sens

or s

oaks

up

the

avai

labl

e lig

ht. T

hen

right

bef

ore

the

shut

ter c

lose

s, th

e fla

sh

fires

to il

lum

inat

e th

e m

ain

subj

ect.

As

the

nam

e S

peed

light

im

plie

s, th

e fla

sh fi

res

very

qui

ckly

, fre

ezin

g th

e ac

tion

of y

our

mai

n su

bjec

t. A

pply

this

to a

mov

ing

subj

ect,

and

the

effe

ct is

ey

e-ca

tchi

ng, g

ivin

g th

e vi

ewer

a s

ense

of m

ovem

ent t

hrou

gh

the

com

bina

tion

of s

harp

feat

ures

and

inte

nded

blu

r.

Rea

r-cu

rtai

n sy

nc to

fire

flas

h at

the

end

of th

e ex

posu

re

Joe

McN

ally

Slow

sync

Cap

ture

the

ambi

ent l

ight

with

a s

low

shu

tter

spe

ed

Whe

n sh

ootin

g a

dim

ly li

t sce

ne w

ith a

vaila

ble

light

, a fa

st

norm

al s

ync

spee

d su

ch a

s 1/

250

seco

nd w

ill e

xpos

e yo

ur m

ain

subj

ect b

ut c

anno

t pro

perly

exp

ose

the

surr

ound

ings

. If y

ou u

se

a sh

utte

r spe

ed o

f 1/3

0 se

cond

or s

low

er in

any

of t

he c

amer

as

expo

sure

mod

es, t

he a

mbi

ent i

llum

inat

ion

will

be

mor

e na

tura

lly

bala

nced

.

Slow

syn

c

Joe

McN

ally

Nor

mal

syn

c

The

sam

e sc

ene

take

n w

ithou

t flas

h

Spee

dlig

ht a

nd h

igh

ISO

com

bina

tion

A

dd a

touc

h of

qua

lity

light

to y

our

quan

tity

of li

ght

Whi

le m

any

shoo

ters

pra

ise

the

incr

edib

le p

ower

of N

ikon

s h

igh

ISO

per

form

ance

, it

is w

orth

not

ing

the

impo

rtan

t di

ffer

ence

be

twee

n qu

ality

of l

ight

and

qua

ntity

of l

ight

. Whi

le a

hig

h IS

O c

an

incr

ease

you

r sho

otin

g po

wer

in s

ituat

ions

with

a lo

w q

uant

ity o

f lig

ht, h

igh

ISO

alo

ne c

anno

t im

prov

e th

e qu

ality

of l

ight

. Thi

s is

a jo

b fo

r Nik

on S

peed

light

s. A

sim

ple

flash

can

ope

n up

the

shad

ows

acro

ss a

mod

els

ski

n an

d dr

aw

our a

tten

tion

to h

er fa

ce a

s th

e ph

otog

raph

er

inte

nded

. A S

peed

light

wor

king

toge

ther

with

hi

gh IS

O a

lso

allo

ws

you

to il

lum

inat

e fa

raw

ay

subj

ects

with

str

aigh

t or b

ounc

e fla

sh.

Flas

h fil

l-in

and

high

ISO

(160

0) u

sed

toge

ther

J

oe M

cNal

ly

Hig

h IS

O w

ithou

t usi

ng fl

ash

1213

The

Nik

on C

reat

ive

Lig

htin

g Sy

stem

SB-R

200

Wire

less

Rem

ote

Spee

dlig

htAl

so a

vaila

ble

as a

sepa

rate

uni

tfo

r D4,

D3

serie

s, D8

00 s

erie

s, D7

00, D

300

serie

s, D7

000,

D90

, D51

00, D

5000

, D32

00, D

3100

, D30

00

Two

SB-R

200

units

are

inclu

ded

with

bot

h th

e R1

C1

and

the

R1. E

ach

unit

feat

ures

a g

uide

num

ber o

f 10

(ISO

100,

m) o

r 14

(ISO

200,

m).

Whe

n at

tach

ed to

a

lens

via

the

SX-1

, the

flas

h he

ad c

an b

e til

ted

up to

60

degr

ees

tow

ard

the

optic

al a

xis

of th

e le

ns o

r up

to 4

5 de

gree

s aw

ay.

SW-1

2 Diff

user

Th

is m

ilky-

whi

te p

anel

diff

uses

light

fro

m a

flas

h an

d so

ftens

shad

ows.

SW-C

1 Fle

xibl

e Ar

m C

lipAl

low

s atta

chm

ent o

f ite

ms s

uch

as a

di

ffuse

r. Ca

n be

atta

ched

to th

e gu

ide

groo

ve o

f the

SX-

1 At

tach

men

t Rin

g.

SC-2

8/SC

-29

TTL

Rem

ote

Cord

(1.5

m)

The

SC-2

8/SC

-29

mak

es o

ff-ca

mer

a TT

L fla

sh c

ontro

l eas

y an

d as

sure

d. W

ith th

e Ni

kon

D-SL

Rs, t

he S

C-29

also

wor

ks a

s an

ex

tern

al A

F-as

sist i

llum

inat

or.

AS-1

5 Sy

nc T

erm

inal

Ada

pter

The

AS-1

5 is

com

patib

le w

ith c

amer

as s

uch

as th

e D7

000,

D90

, D51

00, D

5000

, D32

00,

D310

0 an

d D3

000,

whi

ch fe

atur

e st

anda

rd

ISO-

type

acc

esso

ry s

hoe

but l

ack

a sy

nc te

r-m

inal

for l

arge

stu

dio

stro

bes.

SD-9

Hig

h-Pe

rfor

man

ce B

atte

ry P

ack

The

SD-9

is a

n ex

tern

al p

ower

sou

rce

for t

he

SB-9

10/S

B-90

0 Sp

eedl

ight

. It c

an h

old

up to

tw

o se

ts o

f fou

r R6/

AA-s

ize b

atte

ries,

ensu

ring

a st

able

pow

er s

uppl

y fo

r the

SB

-910

/SB-

900,

gre

atly

incr

easin

g th

e nu

mbe

r of f

lash

es, a

nd re

ducin

g re

cycli

ng

time.

Flas

h Ac

cess

orie

s

SW-1

1 Ext

rem

e Cl

ose-

up

Posi

tioni

ng A

dapt

erFo

r cen

terin

g th

e lig

ht fr

om th

e SB

-R20

0 fla

sh to

an

optic

al a

xis, w

hich

is e

spec

ially

ef

fect

ive in

clos

e-up

shoo

ting.

Re

com

men

ded

for s

hoot

ing

dist

ance

s w

ithin

15 cm

(lens

to su

bjec

t).

SU-8

00W

irele

ss S

peed

light

Com

man

der

Also

ava

ilabl

e as

a se

para

te u

nit

for D

4, D

3 se

ries,

D800

ser

ies,

D700

, D30

0 se

ries,

D700

0, D

90, D

5100

, D50

00, D

3200

, D31

00, D

3000

Plac

ed a

top

your

Niko

n D-

SLR

s ho

t sho

e, th

e SU

-800

ac

ts a

s a

com

man

der f

or a

s m

any

Spee

dlig

hts

as y

ou

desir

e.

R1C1

/R1

Clos

e-up

Spe

edlig

ht K

itTh

e ul

timat

e Sp

eedl

ight

sys

tem

for c

reat

ive,

wire

less

clo

se-u

p ph

otog

raph

y

R1C1

: Clo

se-u

p Sp

eedl

ight

Com

man

der K

it (S

U-80

0, tw

o SB

-R20

0s a

nd a

ll th

e ac

cess

orie

s)R1

: Clo

se-u

p Sp

eedl

ight

Rem

ote

Kit (

Two

SB-R

200s

and

all t

he a

cces

sorie

s)

Zoom

hea

d se

t to

200m

m in

ord

er to

str

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the

brid

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face

cle

arly

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1415

The

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pho

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how

th

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rings

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oth

mul

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mon

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ultip

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re

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them

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scen

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just

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corr

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e ce

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ash

cont

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ill pe

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m a

ll th

e co

mpl

ex li

ghtin

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lcul

a-tio

ns fo

r you

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pre

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feed

back

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rmat

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from

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re-fl

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tem

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ther

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top

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it, C

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rs th

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ash

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hats

mor

e, th

e sy

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wire

less

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our S

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n be

don

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ooth

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o m

atte

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re y

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ou c

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thre

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mbe

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ng th

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h un

it to

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just

the

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mpe

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f the

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r for

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e di

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ntro

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can

flui

dly

switc

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om i-

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anua

l. A

ll op

era-

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ll of

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e ar

e po

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t eve

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ving

yo

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ultip

le S

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con

trol

has

nev

er b

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this

in

tuiti

ve o

r flui

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o ot

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syst

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omes

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mot

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sy a

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the

link

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amer

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aptu

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soft

war

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ach

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imag

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onta

ins

a th

umbn

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imag

e an

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amer

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ns a

nd S

peed

light

set

tings

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ch

the

soft

war

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cogn

izes

and

app

lies

just

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you

did

whe

n yo

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eate

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e im

age.

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exc

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conc

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also

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imag

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ta in

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mai

ns in

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e N

EF a

nd y

ou c

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lway

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turn

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axim

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ity. I

f you

ve

mad

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the

im-

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usin

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e so

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thos

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the

othe

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plac

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ontr

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whe

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r you

wan

t to

repr

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e C

olor

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trol

Poi

nts

slid

er c

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brig

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tone

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ne, b

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appl

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his

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mak

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oth

subt

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pos

sibl

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sec

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craf

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tom

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colo

r whe

els

and

pres

et

colo

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to s

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with

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or

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trol

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nts

and

wat

ch h

ow th

e so

ftw

are

resp

onds

to h

elp

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eve

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tly w

hat y

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slide

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to a

spe

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ks

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reco

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trac

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mpe

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dust

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ails

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new

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pal

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trol

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nett

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corn

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whe

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cre

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rpos

es.

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Col

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tera

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fo

r sup

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imag

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tras

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pace

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Con

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-cam

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stm

ents

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ose

sett

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pos

sibl

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with

in C

aptu

re N

X 2

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ate

imag

ing

styl

es a

nd m

odify

the

m

how

ever

you

see