At that point in time he was shooting film and given the results he gets I suspect he probably still is! He mounted the strobe at zero degrees above the port, laying almost parallel to the port but angled slightly down.
On the second test image Right the top of the O Ring container is perfectly exposed, but the white plastic of the Wet Wipes container is quite badly over-exposed. Using the same set-up I looked around the wharf area for two objects that would offer similar contrast to the ones in the above water tests, but the best I could find initially was a Coke can…. I then went in search of subjects that would suit the approach I believe iTTL and the Nikon CLS can offer underwater and found some nudibranchs doing their thing and a nicely positioned scorpion fish.
I was particularly pleased with the nudi image as it has a really nice look to it in my opinion…. But you do get to use the SB above water, which needs to be taken into account.
Finally the Patima housing is really nice and worked perfectly, offering full access underwater to all the functions of the SB But, this one really is different because I am not selling anything. It's simply my way of letting you know about new stuff on Indopacificimages.
During the current pandemic I have updated the site completely, plus made it easier to navigate and find useful stuff to help you plan your next trip. Do not use other panels such as diffusion panels, as this may produce incorrect exposure. SB : AF-assist illumination is available when 24— mm AF lenses are used with the focus points shown. Depending on the lens used and scene recorded, the in-focus indicator I may be displayed when the subject is not in focus, or the camera may be unable to focus and the shutter release will be disabled.
In mode P , the maximum aperture minimum f-number is limited according to ISO sensitivity, as shown below:. If the maximum aperture of the lens is smaller than given above, the maximum value for aperture will be the maximum aperture of the lens. Noise in the form of lines may appear in flash photographs taken with an SD-9 or SD-8A high-performance battery pack attached directly to the camera.
Reduce ISO sensitivity or increase the distance between the camera and the power pack. When the AS sync terminal adapter available separately is mounted on the camera accessory shoe, flash accessories can be connected via a sync terminal. Use only Nikon flash units. Negative voltages or voltages over V applied to the accessory shoe could not only prevent normal operation, but damage the sync circuitry of the camera or flash. A wide-angle diffraction lens can be pulled out from above the flash lens and flipped down over it to accommodate lenses as wide as 14mm.
Pressing the center of the rocker control actuates the Set button, which confirms menu choices. Pressing and holding the Set button for more than 2 seconds calls up a hidden menu that lets you switch the flash between normal, master, and remote operation, as well as set a variety of other less-frequently accessed flash parameters such as default ISO, LCD contrast and backlight, etc.
SB Menu Screens As noted above, there's not nearly enough space or time here to go into all the SB's features, but the menu screens shown below will give some idea of its capabilities.
Click on the image to view the video. That about wraps up this brief exploration of the Nikon SB speedlight, and its remarkable remote-control TTL flash exposure capability. For a little flavor of how you can use a set of SBs and SBs in practice though, check out the video below, in which Dave describes how we used Nikon's Creative Lighting System for high-quality on-location product photography at the Spring PMA show in Orlando, Florida.
It made it easy for us to produce studio-quality product shots with a very portable, compact setup. As of this writing July, , Nikon makes three different flash units that can all operate as part of their Creative Lighting System:.
The SB can operate as an on-camera flash unit or as a slaved remote, but can't function as a master controller in the system. A more recent addition to the line is the SB-R wireless Speedlight, a small unit that's available either as part of the R1 or R1C1 macro flash kit, or separately by itself.
One parting piece of advice about Nikon's Creative Lighting System: Don't play with it until you're ready to buy a complete setup: Once you've experienced its flexibility and the creative power it gives you, you may not be able to live without it! On the other hand, it's a system you can easily grow into: If you start with a D70 or D, you could add an SB to start, to give you basic off-camera flash capability, then add others as budget permits. With the D70 or D70s, you may want to make your second or third flash be an SB, so you'll have the ability to control multiple groups of remotes.
Here's what we think is happening in the shot above: D70 fires a "wake up" series of command pulses, to get the attention of any remotes that might be out there, lying dormant. Note that what looks like a single bright flash here is actually a very rapid series of communication pulses, carrying digital data from the D70 to the remotes. D70 fires a command pulse stream to instruct the remote s to get ready to fire a metering pulse.
D70 fires a single, low power trigger pulse. The SB fires in synchrony with it. This is the metering pulse. Then there's a pause, while the D digests the results of the metering pulse, and computes the correct exposure based on its TTL measurement. The D70 fires a series of command pulses, instructing the remotes to get ready for the main exposure flash, and telling them what power level to fire at.
The D70 fires a single trigger pulse. This is the main exposure flash. Typical unevenly exposed, stark, flat-looking amateur flash shot. Here, Chris was holding the SB overhead, with the leaves from a ficus tree casting some shadows on the backdrop. Some other shots had more interesting shadow patterns, but Charlotte wasn't posed as well.
The Wonder Dog isn't that Wonderful a photo subject An on-camera flash shot of Mickey Mouse the not-so-Wonder Cat. Burdened with that name, it's probably no wonder he's as cross-tempered as he is.
This version was shot with the SB held inside a Photoflex medium Movie Dome softbox, held a foot to 18 inches above Mickey. Hard to tell it's even a flash shot, the light is so even. In this mode, the camera and flash work together to try to deliver an even balance between subject and background lighting. Also shown are an icon indicating that the attached camera supports the Creative Lighting System, and current focal length and aperture setting.
Useful when you want to highlight the subject, and don't care or may prefer that the background is over- or underexposed. Auto mode is the way most conventional autoexposure flash units work. In this mode, you set an aperture value on the flash itself, and the flash adjusts its exposure as measured by its own internal sensor to produce a good exposure with that aperture value and whatever ISO the camera is currently using.
You can then manually adjust the actual exposure by varying the lens aperture. Auto Aperture mode represents a refinement on normal auto operation. In this mode, the camera tells the flash what ISO, focal length, and aperture it's using, as well as any desired flash exposure compensation, and the flash calculates the needed exposure itself, and meters it with its own built-in that is, non-TTL sensor.
Operation in this mode is similar to that in A mode, but the flash compensates for any changes in aperture, and you instead control the exposure by adjusting the flash exposure compensation setting. In Manual mode, neither the camera nor the flash exerts any control over the exposure. You simply tell the flash what power level to use.
0コメント