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Nikon SB-24 Af Speedlight Manual

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User reviews and opinions

Comments to date: 8. Page 1 of 1. Average Rating:
fx2ooo 3:51am on Wednesday, October 6th, 2010 
This is a very versatile and powerful flash. All my work in studio or location is with strobist techniques. I tend to use many flash units and use wireless TTL almost excusively.
Ohm 11:12am on Sunday, September 26th, 2010 
nothing right now Consistent Output","Easy To Use","Fast Recycling","Powerful Output","Versatile No Problems yet This flash is used primarily on the Nikon D700 and just seem to work no matter what I throw at it. All you have to do is read the instructions.
jfonseca 11:29pm on Thursday, September 2nd, 2010 
Price of brand SLR, the Nikon D90 does not have the price up slightly, which makes the main client of this Nikon product sales plummeted. Nikon SB 900 Speedlight - hot-shoe clip-on flash As all of us know that nikon has been the best in producing flash devices for camera.
dwatkins 9:02am on Wednesday, September 1st, 2010 
This is the ultimate lighting accessory. No limitations with this Speedlight and the photographs produced are amazing. best of the best of all nikon flash on Earth..... thanx..... Versatile, Lightweight, Easy To Use, Powerful Output, Fast Recycling, Durable. Love all the power.. true pro quality flash Versatile, Powerful Output, Fast Recycling, Durable, Consistent Output, Easy To Use Bulky, Heavy
birsh 4:12am on Saturday, August 14th, 2010 
SB-900 much easier to operate than previous model The SB-900 is much easier to operate than the previous model, SB800, and much more reliable.
Zagzigger 10:11am on Tuesday, August 10th, 2010 
I just set up a great home portrait studio. Great output, fancy controls, nice features overall. On the negative slide. This flash has a great output, easy to use. I have the SB 800 and this a much better flash for ease of use, output.
jimr 7:50pm on Monday, June 14th, 2010 
great flash People talk too much about the over heating/ auto-shut off feature. Just turn the heat sensor off and forget about it!
GPadmos 7:15am on Thursday, May 20th, 2010 
Good Stuff. Now if I can figure how to work the remote feature with the D700. Consistent Output","Fast Recycling Heavy","Remote Not Working This is my second flash unit, along with the sb-600. I want to stop using continous lightinh when doing head shots & product Photography. This is the only flash that i have used where it is possible to whiten the room :D Consistent Output","Durable","Easy To Use","Fast Recycling".

Comments posted on are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.




The NIKON Challenge III

Special Advertising Section
hooting photographs of animals at night can be quite difficult, because it's hard to see and focus on them. The special features of the Nikon F4S camera and SB-24 AF Speedlight can help you do it easily, though. A visit to the Portland Zoo resulted in a meeting with an owl named Hooter. We attached a 300mm AF Nikkor lens to the F4S, and shot with the SB-24 Speedlight, both mounting it in the camera's hot-shoe, and moving it off-camera using the SC-17 off-camera TTL cord. All lights were turned off in order to simulate night conditions. The F4S was set to autofocus, while the SB-24 was set to TTL flash. When the shutter button was depressed halfway, the red focus-assist beam fired and illuminated the owl. This focus beam served three purposes: First, it allowed us to center the owl in the frame, as we could not see the bird in total darkness. Second, it allowed the camera to autofocus the lens properly on the subject. Finally, the beam indicated when the retina was flashing back "red-eye" at the camera. As soon as we saw this "red-eye," we pressed the shutter button fully down to record the image: a night picture of the owl with its eyes glowing. If you've ever caught a cat's eyes in your car headlights at night, you've seen them glow. Most animals' eyes glow like that when suddenly struck by bright light at night. You can record this effect in your night photos by using a relatively long-focal-length lens and on-camera flashin effect, intentionally inducing "red-eye." If you don't want this effect, you can move the flash unit

On-camera flash

CAMERA: Nikon F4S LENS: 300mm AF Nikkor FLASH: SB-24 AF Speedlight MODE: Program AE METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: V2M at f711 FILM: Kodak Ektapress Gold 400
off-camera. Examples of both techniques are shown here, with the owl as subject. When you use Nikon's offcamera TTL cord SC-17 to connect the SB-24 flash unit to the camera, you'll get fully automatic TTL flash operation, just as you do when the flash unit is mounted in the camera's hot-shoe. D

The NlKOi Challenge

ave you ever found yourself in a situation where you need to take some studio shots of a subject, but lack a studio full of lighting gear? What do you do? Take advantage of the versatile functions of the Nikon N8008 camera and SB24 AF Speedlight, and you will find yourself with a whole carload of lighting equipment: Through the technique described here, the SB-24 can be used as a complete studio lighting system. To make these shots, we mounted the camera on a sturdy tripod, and attached the SB-24 AF Speedlight to the camera via the SC-17 TTL cord. We then set the NSOOS's multiple-exposure mode to the number of flashes desired for the shot. We set the camera to manual exposure, with the shutter speed at '/2so to eliminate the effect of any ambient room light, and focused on the subject. Then, one of us placed the SB-24 flash in each position desired, as the other tripped the camera shutter. The diagram shows one lighting possibility using
CAMERA: Nikon N8008 LENS: 60mm AF Micro-Nikkor FLASH: SB-24 AF Speedlight and SD-8 Battery Pack MODE: Manual METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: 1/2so at f/16 MAGNIFICATION: 1:10 to infinity FILM: Kodak Ektapress Gold 100 MULTI-EXPOSURE FUNCTION: Set to 3 exposures


Spotlit background
SB-24 position for third exposure
SB-24 position for second exposure
SB-24 position for first exposure SD-8 battery pack

60mm lens

this technique. Colored gel filters were placed over the flash at some of the positions for that extra creative effect. Direct backlighting can be accomplished by covering your hand with a black cloth and holding the flash unit directly behind the subject. For softer lighting, the SB-24 can be set to Vie power for eight stroboscopic exposures. Reset the camera's shutter speed to one second so that the flash unit has time to fire all eight flashes. Each time you trip the camera shutter, you should pan the flash in an inverted U-shaped arc. Each arc should take about one second to complete. D



The camera was set to slow-flashsync mode, so that the flash would fire at the beginning of the exposure, and the available-light exposure would follow. The flash-compensation dial was set to -I-1 stop, and the camera compensation to -1 stop. This would create about a 1:2 ratio between the flash and existing-light exposures. As soon as the shutter button was pressed, the pan head was rotated to blur the image. The result is a sharp image at the beginning of
CAMERA: Nikon N6006 LENS: 28-85mm AF Zoom-Nikkor FLASH: Built-in MODE: Shutter-priority AE METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: 2 sec. at f/8 FLASH COMPENSATION: +1 stop CAMERA COMPENSATION: -1 stop FLASH FILTRATION: CC30 green CAMERA FILTRATION: CC30 magenta FILM: Kodak Ektachrome 100
omplex studio lighting setups involving two types of lighting sources can be photographed using the advanced functions of the N6006 camera. A brass trumpet was set on a black velvet background, in a room with overhead fluorescent lighting. The N6006 camera and 2885mm AF Zoom-Nikkor lens were mounted on a tripod with a smoothoperating pan-and-tilt head. A CC30 magenta filter was added to the camera to correct for fluorescent lighting. An additional CC30 green filter was then added to the front of the built-in flash on top of the N6006 to balance the flash to the same color as the fluorescent lights. The CC30M filter would then correct both light sources back to a daylight balance for the film in use.

Slow flash

the exposure, and a blur at the end: the blur precedes the subject. For the second series, we set the camera to the rear-sync mode, and the sequence was reversed. When the shutter was opened, we panned the tripod head to record the existinglight blur, with the flash firing at the end of the exposure to produce a sharp image. In the photograph, the blur follows the subject's motion, a more natural effect. D


t 28-85mm zoom lens

Rear-sync flash

The NIKO> Challenge 111
hen you're taking wide-angle photos in contrasty lighting conditions, most color films will not be able to handle the scene's brightness range. By using one or two SB-24 AF Speedlights off-camera, you can use fill-flash to effectively combat contrasty shadows. For this shot, an N6000 camera was set up on a tripod, and manually focused on some nearby starfish. One SB-24 AF Speedlight was connected to the camera via the SC-17 TTL cord, and a second SB-24 was attached to the first via an SC-18 flash cord. Each SB-24 flash unit was pointed toward foreground areas needing extra light. The N6000's

CAMERA: Nikon N6000 LENS: 20mm AF Nikkor FLASH: Two SB-24 AF Speedlights MODE: Program AE METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: VM at f/8 FILM: Fujicolor Reala

Fill flash

shutter was activated by using the camera's built-in self-timer. If you are alone, you can hold one SB-24 in your left hand and the other in your right. It is also possible to mount one SB-24 in the camera's hot-shoe and turn the flash head toward one part of the scene, while holding the second SB-24 in one hand and pointing it at another part of the scene. If the area to be illuminated is small, one SB-24 may be all that is necessary to fill the shadows, and illuminate the foreground. D
No flash Special Advertising Section

The NIKON Challenge 111

ith the new N6006 camera, beautifully balanced fill-flash pictures are easy. When you need fill-flash, simply raise the flash head, wait a short time for the flash to charge, and shoot. The camera does the rest. In this setup, we positioned the subject with his back to the sun, so that fill-flash was necessary. Using the +/- compensation for the flash, and the +/- compensation for the camera, we were able to achieve virtually any flash-to-daylight lighting ratio desired. The first group of photos was taken with no flash, and the N6006 camera set to a five-exposure autobracketing sequence in !/3-stop intervals. The second set of photos was taken using the built-in flash. Full fill-flash was accomplished by leaving all settings on normal. The fill ratio was increased by changing the

No flash

CAMERA: Nikon N6006 LENS: 28-85mm AF Zoom Nikkor FLASH: Built-in MODE: Program AE METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: Vi25 at f/11 EXPOSURE COMPENSATION: -0.3 to -0.7 stops FLASH COMPENSATION: -0.3 to -1.3 stops fill-flash FILM: Kodak Ektachrome 100
flash compensation to -0.3 stop, -0.7 stop, -1 stop, and -1.3 stops. We also decreased the overall exposure by changing the camera's exposure compensation setting to -0.3 stop and -0.7 stop. We also found that you could bracket the overall fill-flash series by holding the shutter button down until the camera had taken all the variations required. The N6006 automatically waits for the flash to recycle before taking each shot in the bracketed series. D
28-85mm AF zoom Example: For 1:2 lighting ratio, set camera at 0 compensation, flash at -1 compensation Example: For underexposed 1:1 ratio, set camera at -1 stop, flash at 0 compensation Example: For underexposed 1:2 ratio, set camera at -1 stop, flash at -1 stop Key flash Special Advertising Section

;hallenge III

ighting large nonilluminated subjects at night can be very frustrating unless you utilize a technique called "painting with light" that has been used by professional photographers for decades. In order for us to photograph such a subject, we took advantage of the features of the Nikon N8008 camera and SB-24 AF Speedlight with its SD-8 battery pack. We first secured the camera to a sturdy tripod, then attached a 20mm AF wide-angle lens and manually focused on the subject. Additional props necessary for this shot included a No. 25 red gel filter, a No. 47 blue gel filter, and a high-intensity spot flashlight. The camera exposure controls were set to 30 seconds at f/ 2.8, and the multiple-exposure function was set to make three exposures. We walked to the first position on the right side of the lighthouse, and attached the blue filter over the flash unit. The flash unit's stroboscopic function was set for eight flashes, at !/i6 power. After one of us opened the camera's shutter, the other proceeded to "paint" the right side of the lighthouse with the flash unit. Ten

Unfiltered flash

Filtered flash

Spot flashlight

SB-24 SB-24
CAMERA: Nikon N8008 LENS: 20mm AF Nikkor FLASH: SB-24 AF Speedlight and SD-8 BatteryPack MODE: Manual METER: Matrix MOTOR DRIVE: Single frame EXPOSURE: 30 seconds at f/2.8 FILM: Fujicolor Reala FILTERS: No. 25 red (left flash); No. 47 blue (right flash) MULTIPLE-EXPOSURE FUNCTION: Set to 3 exposures (2 with SB-24, 1 with high-intensity flashlight
N8008 Special Advertising Section
sets of stroboscopic exposures with the blue filter were made during the first 30-second exposure, for a total of 80 exposures. Next, we moved to the position on the left side of the lighthouse, where we repeated the procedure, but with the red filter over the flash, for an additional 80 exposures. Finally, we moved to the third position, where we concentrated a very high-intensity-beam flashlight on the backside of the huge convex lens in the top of the lighthouse for the final 30-second exposure. We've also included a "painting" with straight, unfiltered flash. D


Challenge IV

Special Advertising Section
ophisticated images don't necessarily require lots of additional accessory equipment. The image shown here, for example, was made with a Nikon N6006 mounted to the handlebars of a moving bike. The only other equipment needed for the shot was an air-bulb remote release and a Bogen Superclamp (which attached the camera to the handlebars). Many SLRs have built-in flash units, ideal for snapshots. What separates the N6006 from the rest of the pack is that its powerful flash can be used in a variety of creative flash modes, including rear-curtain sync, in which the flash fires at the end of the exposure, rather than at the start. If you make a long exposure of a moving subject, and use front-curtain flash sync, the flash will fire when the camera shutter opens, then the long existing-light exposure is made. Thus, ghost-image "speed streaks" produced by the subject's movement appear to precede the subject in the photo. With rear-curtain sync, the long existing-light exposure is made first, and the flash fires just before the camera shutter closes. Thus, the ghostly speed streaks follow the subjecta very natural and pleasing visual effect. To make this shot, the photographer set the Nikon N6006 camera (with AF Nikkor 20mm f/2.8 superwide-angle lens*) for Programmed AE, Auto Balanced Fill-Flash, Matrix metering, and Autofocus, along with Rear-Curtain Sync (by pressing a few buttons); then clamped the camera to the bicycle's
* The N6006's built-in flash coverage is adequate for focal lengths as wide as 28mm; because the subject was centered in the frame, full illumination of the edges of the scene was not necessary.)
Nikon N6006 with 20mm AF Nikkor lens
CAMERA: Nikon N6006 LENS: 20mm f/2.8 AF Nikkor FLASH: Built-in EXPOSURE MODE: Program AE METERING MODE: Matrix FLASH MODE: Rear-curtain sync EXPOSURE: 15 seconds at f/5.6 EXPOSURE COMPENSATION: 0 FLASH COMPENSATION: 0 FILM: Kodachrome 200
15-second exposure made with N6006's built-in flash in rear-curtain sync.
Camera body attached to left handlebar
handlebars using a Bogen Superclamp, and attached an air-release cable. He then rode down New York City's 7th Avenue late at night, and squeezed the release bulb to fire the shutter. The N6006 automatically did the rest, and
recorded the effective image on Kodachrome 200 film. You would think this type of photography would be hit-or-miss, but the results were predictable and intriguing, frame after frame! D

The NIKON Challenge IV

hotographing children is always difficult. Following focus, readjusting the lighting, and resetting the exposure as the subjects move from one area to another tend to distract your attention from the composition and the subject's expression. The new and advanced Nikon N8008S camera and SB-24 AF Speedlight flash unit will automatically handle all the technical aspects of shooting a moving subject. All you need do is compose the scene through the brightscreen viewfinder, and wait for that perfect moment to take the shot. For this shot, two SB-24 AF Speedlights were attached to a light stand and directed into an umbrella reflector. One SB-24 was attached to the camera via the Nikon SC-17 TTL flash cord, and the second was connected to the first with the SC-18 flash cord. The primary unit was set to TTL flash, with no flash compensation selected. Each power zoom head was manually set to 24mm so that the flash beams would evenly fill the umbrella. The party and cake were placed at one end of the table, and the photographer was at the other end. Image size and compositional cropping were accomplished by
28-S5mm _^ zoom lens N8008S >
CAMERA: Nikon N8008S LENS: 28-85mm f/3.5-4.5 AF Nikkor FLASH: Two SB-24 AF Speedlights, with SC-17 and SC-18 TTL cords EXPOSURE MODE: Aperture-Priority AE METERING MODE: Matrix FLASH MODE: TTL FOCUS MODE: Auto C mode MOTOR DRIVE: Continuous EXPOSURE: VM at f/5.6 EXPOSURE COMPENSATION: 0 FLASH COMPENSATION: 0 FILM: Ektapress 100
zooming the 28-85mm f/3.5-4.5 AF Nikkor zoom lens. An aperture off/5.6 was used so that the flash recycle time would be rapid and the background would be thrown slightly out of focus. Umbrella bounce flash was selected to prevent one girl from casting a shadow on the next. The bounce flash elimi-

nated this problem and made the scene more natural-looking as well. For a different lighting effect, the light could be bounced off a wall or ceiling. The NSOOSS's autofocus capability automatically kept focus as the children moved back and forth within the scene. D
Multiple-flash bounce portrait using SB-24s and continuous autofocus with the N800SS.

he NIKON rtallenge IV

nimal portraits, whether they are made at the zoo or in the wild, are difficult to make with slow zoom lenses. A fast maximum aperture lets the photographer shoot in dim light, with slow-speed, fine-grain films. A fast maximum aperture also allows the photographer, when shooting with the lens wide-open, to blur background details, thus focusing emphasis on the main subject. The 80-200mm f/2.8 AF Zoom Nikkor is, quite possibly, the ideal portrait lens, whether your subjects are people or animals. This lens's range of focal lengths (80mm to 200mm) encompasses all of the traditional portrait focal lengths85mm, 105mm, 135mm, 180mm, and 200mm. Additionally, the 80-200mmf/2.8 AFZoom Nikkor possesses an ultra-fast maximum aperture of f/2.8, meaning that at any focal length, at a suitable camera-to-subject
CAMERA: Nikon F4S LENS: 80-200mm f/2.8 AF Zoom Nikkor EXPOSURE MODE: Aperture-Priority AE METERING MODE: Spot FOCUS MODE: Auto S mode MOTOR DRIVE: Single frame EXPOSURE: f/2.8 to f/5.6; shutter speed varied accordingly EXPOSURE COMPENSATION: 0 FILM: Kodak Ektachrome 100 Plus Professional
distance, you can blur the background, while keeping the subject razor-sharp. The 80-200mm f/2.8 AF Zoom Nikkor lens incorporates special elements made of extra-low dispersion glass, which all but eliminate chromatic aberrations that occur at telephoto focal lengths. An additional benefit of the 80200mm f/2.8 AF Zoom Nikkor lens is that it has excellent close-focusing capabilities. In macro-focusing mode, the lens can focus down to a distance of 4.9 feet for a reproduction ratio of 1:5.9 (ideal for portraits of animals). All of the animal portraits shown here were made with the 80-200mm AF Zoom Nikkor lens and a Nikon F4S camera set for Aperture-Priority AE. The F4S's depth-of-field preview Special Advertising Section

enabled the photographer to determine just which aperture would provide the desired effect; the camera's AperturePriority AE mode permitted him to set it, while still enjoying the shooting freedom and speed of automatic exposure control. D
ide-angle flash is a problem, usually. Especially with builtin flash units, the flash doesn't cover a wide enough area to permit shooting evenly lit images with wideangle lenses. The Nikon N6006's builtin flash, however, covers a wide enough angle to permit shooting evenly lit photographs with lenses as wide as the AF Nikkor 28mm f/2.8 lens used here. Nikon's N6006 offers built-in flash with Automatic Balanced Fill-Flash, through which the exposure is perfectly and automatically balanced with ambient light. This feature, along with the built-in unit's wide angle of coverage, made this photograph possibleautomatically. The camera was set for Programmed auto-exposure, Matrix Metering, Automatic Balanced Fill-Flash, and Autofocus. Then all the photographer had to do was compose, and shoot. As the sky grew darker with every passing minute, the camera's highly sensitive metering system compensated accordingly, producing frame after frame with perfectly balanced fill-flash. In addition to providing balance be-
Nikon N6006 camera with 28mm AF Nikkor lens
CAMERA: Nikon N6006 LENS: 28mm f/2.8 AF Nikkor FLASH: Built-in EXPOSURE MODE: Program AE METERING MODE: Matrix FLASH MODE: Auto Balanced Fill-Flash FOCUS MODE: Auto S mode MOTOR DRIVE: Single frame EXPOSURE: Vao at f/5.6 FLASH COMPENSATION: 0 EXPOSURE COMPENSATION: 0 FILM: Kodachrome 64
tween flashlit subjects and existing-lit backgrounds automatically, the N6006 permits the photographer to adjust the flash-to-existing-light ratio (within a range of one stop over to three stops under the standard ratio, in '/j-stop increments) as desired, by setting the chosen degree of compensation. To darken the background and lighten the foreground subject, you can set the camera compensation to -1 and the flash compensation to +1, for example. This versatility is provided by no other camera's built-in flash unit, and by few accessory flash units. D

Daylight-balanced automatic fill-flash. Special Advertising Section
CAMERA: Nikon N8008S LENS: 75-300mm AF Nikkor f/4.5-5.6 FLASH: Two SB-24 AF Speedlights, connected with SC-17 and SC-19 flash cords EXPOSURE MODE: Program AE METERING MODE: Matrix FLASH MODE: TTL FOCUS MODE: Auto S mode MOTOR DRIVE: Continuous EXPOSURE: Vm at f/8 FLASH COMPENSATION: 0 EXPOSURE COMPENSATION: 0 FILM: Kodak Ektapress 100
ne of the main advantages of Nikon's Matrix Balanced FillFlash is that it works with multiple flash units, thus allowing the photographer to produce professionally lit portraits with the ease of full TTL exposure automation. With the advanced new Nikon N8008S camera, two SB-24 AF Speedlight flash units, and the appropriate Nikon dedicated TTL flash cords, you can let the camera and flash automatically take care of the technical details of the shot, so all you need do is compose, and watch in the bright viewfmder for that ideal expression. For this shot, an AF Nikkor 75300mm zoom lens was mounted on the N8008S, and an SB-24 AF Speedlight was attached to the camera via the SC17 flash cord. A second SB-24 was attached to the first using the SC-19 flash Informal portraits made with two SB-24s cord. The SB-24s were set to TTL and the N8008S. flash, and all other functions were in their default modes. An assistant held one of the SB-24s just off camera and the other at arm's length, and directed each so that flash shadows were minimized. The subjects were then asked to carry on as they discussed various aspects of farm life. They were advised that they could move about freely within the scene. Using the autofocus system of the N8008S and the zoom function of the lens and flash, the photographer was able to shoot various compositions of the scene with little effort, and great results. When the subjects moved, even slightly, the autofocus feature of the N8008S responded precisely and predictably, so that each frame of the couple is razor sharp. Also, the meter was set to Matrix mode to ensure that the flash-fill would be equally balanced with the daylight exposure. D

,^_75-300mm zoom lens


edding photographers have long known that electronic flash is useful not only to provide enough lighting when the existing light isn't very bright, but also to provide good lighting when the existing light isn't very attractive. Nikon's automatic TTL flash metering, even when more than one flash unit is used, makes such lighting easy and predictable. For these photos, two SB-24 AF Speedlights were used with a Nikon F4S camera. The first flash was connected to the camera using the SC-17 TTL cord; the second connected to the first using the SC-19 cord. An assistant held the first SB-24 just off camera, and the the second at arm's length. The primary SB-24 was set to rear-curtain sync so that a shutter speed slower
than '/*) could be used (a shutter speed of Vis was indicated by the F4S's MaCAMERA: Nikon F4S LENS: 28-85mm f73.5-4.5 AF Nikkor FLASH: Two SB-24 AF Speedlights, with SC-17 and SC-19 TTL flash cords EXPOSURE MODE: Program AE METERING MODE: Matrix FLASH MODE: TTL, rear-curtain sync FOCUS MODE: Auto S mode MOTOR DRIVE: Single frame EXPOSURE: Vis at f/5.6 EXPOSURE COMPENSATION: 0 FLASH COMPENSATION: 0 FILM: Fujicolor 400 Professional HG
trix metering system for the existing light). Because the existing-light and flash exposures were balanced (automatically by the TTL flash metering), both photographer and wedding couple held very still during the exposures to ensure that there was no blurring due to subject or camera movement at such a slow shutter speed. Several variations of wedding portraits were produced. All of the images included a mix of lighting: filtered daylight coming through the stained-glass windows, tungsten lights from the church interior, and of course, the daylight-balanced flash of the SB-24s. In each case, the Matrix balanced fillflash capability of the F4S and SB-24 AF Speedlights produced beautiful, perfectly exposed images. ffl
Wedding portraits using the F4S, multiple SB24s, Matrix balanced fillflash, and mixed lighting. The combination of such varied light sources, including flash, would have taken much time to calculate "the old fashioned way." Matrix balanced fill-flash makes the task completely automatic.
hen shooting people shots outdoors, direct sunlight produces harsh shadows and squinting subjects. Open shade produces softer lighting and doesn't cause the subjects to squint, but the light is bluenot attractive for people pictures. Also, open shade produces an unflattering lighting pattern on faces, with shadowy, hollowed-out eye sockets, and exaggerated shadows under the nose, lips, and chin of the subject. By using Nikon SB-24 AF Speedlight flash units in conjunction with outdoor lighting, most of these problems can be overcome, with beautiful portraits the result. For this photograph of a three-generation family, the members were gathered together in front of their antique car, which was parked in front of the family home. The shot was taken in late afternoon, when the car and front of the home were in open shade. The ambient light still cast dark shadows, so the photographer used two SB-24 AF Speedlights to fill-in the shadows. One SB-24 was attached to the N8008S camera via the SC-17 TTL flash cord, and a second SB-24 flash was then attached to the first via the

CAMERA: Nikon N8008S LENS: 35-70mm f73.5-4.5 AF Nikkor FLASH: Two SB-24 AF Speedlights, with SC-17 and SC-19 TTL cords EXPOSURE MODE: Program AE METERING MODE: Matrix FLASH MODE: TTL FOCUS MODE: Auto S mode MOTOR DRIVE: Single frame EXPOSURE: Vi2s at f/8 EXPOSURE COMPENSATION: 0 FLASH COMPENSATION: 0, +1 FILM: Kodak Ektapress 100
SC-19 flash cord. Both SB-24s were set ation portrait were produced, including at the wide-angle position to produce the one shown here of grandfather, fathe widest angle of coverage. An assis- ther, and son. The photographer tant held both flash units, and angled moved the group to the front of the car, them so they spread even coverage over and input +1 flash compensation on the entire group. The N8008S and SB- the primary SB-24. The result is key24s then properly exposed the scene flash, wherein the ambient light beperfectly, automatically. comes the fill light, and the SB-24s beSeveral variations of the three-gener- come the main light. ffl

SB-24 SB-24



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