1.

Nikon Flash - Two Separate Metering Systems (Russ MacDonald)

After several years of using the SB800 with my Nikon D200 while shooting weddings and events, and after writing numerous posts about this on the
Nikonians Speedlight Forum , I decided to consolidate my thoughts in this blog.

Note: I use the term TTL to mean the same thing as iTTL throughout this blog.

Look at the two pictures above. Notice that the first one appears as though the subject is in a cave. The background is black. But the second one has
noticeable detail in the background. This blog post is about being able to adjust between these two extremes at will.

Flash photography is a pretty complex subject, and you have to study it a while to understand it. It is also a very rewarding subject and leads to much
better pictures in many situations.

The first concept to wrap your head around is that when you take a flash picture it is actually a combination of two exposures; one from available light
(also called ambient) and the other from flash. Already you may be able to see intuitively that flash photography will be easier in the dark, because the
contribution from ambient is zero! This concept is critical to understand.

And, it is also probably intuitive that if the ambient light is bright, things can get a lot more difficult as you try to balance the two contributions to the
image.

So, Nikon made things much easier for us by developing their camera and flash metering systems - these are two completely separate systems that are
used together or separately, depending on how we set up our camera/flash.

So let's look at the simplest situation first; a dim room where there is only a little ambient light; like what you would find in a typical indoor home
setting at night. If you take a picture in such a setting without flash, in one of the auto modes, say A mode, a typical aperture/shutter would be about
f/4 and 1/4th sec at ISO 100.

Now, put the camera in manual mode and increase the shutter to 1/80th sec and leave the aperture at f/4 and shoot another shot. The picture will be
very very dark - to the point that the image is barely discernable.
Now, turn on the flash in TTL mode and shoot that same shot, leaving the shutter at 1/80th and the aperture at f/4 (still in camera manual mode). You
will see that whatever is in the center of the frame will be properly exposed by the flash. This is because the flash metering system handled the
exposure and added just the right amount of flash power to get a proper exposure. It still may not be exactly the right exposure for other reasons, but I'll
discuss that in a future blog entry.

Now, place a subject (a person is perfect for this) relatively close to the camera (say 5 feet) with a background behind the subject (say about 15 feet
away), still in typical home indoor lighting. Make sure the subject is in the center of the frame and shoot a flash shot in straight TTL (not TTL-BL) leaving
the camera settings at f/4 and 1/80th sec. You will find that again the subject came out properly exposed, because the flash metering system handled
the exposure. But the interesting thing is that the background behind the subject is back to being very dark, just like in the shot without flash. This is
because the flash power decreases very quickly from the distance of the subject to the background and it barely brightens the background at all.

Now, decrease the shutter speed to 1/10th sec and shoot again. The background will be brighter, but the subject will be the same brightness as before.
Also, the subject will be sharp, but the background may also show some motion blur, because 1/10th sec is too slow to hold the camera perfectly still
(unless you use a tripod). Since the flash was primary on the subject; ie, the ambient was overpowered by the flash, and the flash duration is normally
faster than 1/1000 sec, the subject will be sharp with no motion blur.

This shows you that in a dim room, the flash exposure of the subject is controlled by the flash metering system and the background exposure is
controlled by the settings on the camera. You can adjust them separately! This is the key behind using the flash in TTL mode and the camera in Manual
mode.

Even when the ambient lighting is a little brighter than this, you can still use this technique if you stop down the camera aperture enough to make the
flash the primary light on the subject, which takes the ambient light out of the equation. But then your background becomes dark. And if you try to
brighten it by decreasing the shutter speed, then the bright ambient light will begin to affect the subject brightness too, and you begin to risk
overexposure of the subject. In this situation, shutter, aperture, and flash power all affect the brightness of the subject. It's usually best to simply live
with a dark background in this situation and make sure the flash is primary on the subject.

Now, if you are in bright ambient light (like outdoor in daylight), it is simply too bright to be able to take the ambient out of the equation by stopping
down the camera, so now you have to balance the flash and the ambient. If the flash contribution to the shot will be less than the ambient contribution,
then it is called Fill Flash. When there is a lot of ambient, the background and subject are no longer able to be adjusted independently, and camera
manual mode becomes difficult to use. This is when you want to switch the flash to TTL-BL and the camera to one of the automatic modes (S, A, or P).
The camera will then measure the ambient light to set its aperture and shutter and send this information to the flash, after which the flash metering
system will set the power of the flash to make the subject the same brightness as the background.

If the ambient is extremely bright, like direct sunlight, then it's usually best to select P or S mode (and TTL-BL), so the aperture will automatically stop
down to avoid overexposure. In A mode, the shutter will increase to reduce the exposure, but it will be limited by the flash sync speed of 1/250th (D200)
and that is often not high enough for bright light if a wide aperture is selected.

One caveat for TTL-BL: the subject must be darker than the background for TTL-BL to work properly. The flash can only brighten the subject to balance
it with the background; it can't make the subject darker. If the subject is brighter than the background to begin with, then you probably are best off not
using flash. However, there can sometimes be slight shadows on the subjects face that can be 'lifted' with a very slight amount of flash in TTL mode.

2. Nikon TTL Flash Metering System

Conditions: Flash in iTTL Mode - not iTTL-BL Mode.

(TTL means iTTL in this blog)

It is very important to remember that the Nikon TTL Flash metering system is not coupled to the Camera metering system. Even though these two
systems use the same metering sensor in the camera, they act independently. This is definitely not intuitive and not explained well in any
documentation that I've read. It is alluded to in the Nikon CLS pamphlet when it talks about using the FV Lock button to meter a subject that will be off-
center when the background is dark.
Note: The TTL-BL flash metering system is coupled to the camera metering system, and I will talk about that in my next post.

Also, both the flash metering system and the camera metering system read the settings on the camera (i.e., ISO and f/ stop) in their calculations.

The picture above was taken in nearly total darkness in camera Manual mode with the shutter at 1/8th second and the aperture at f/2.8. Notice how the
flash system handled the entire exposure of the subject, while the camera system handled the exposure of the background. You know this because of the
shift in white balance from the subject to the background. Notice that the background is very yellow and the subject color is much whiter. This is
because the flash was the only contributor to the exposure of the subject, and the background was lit by incandescent lights. The flash was so weakened
by the time it reached the background that it did not contribute to the background at all.

The Camera metering system does not take into account that the TTL flash will add to the exposure of the subject. You can prove this by taking a
picture, with and without flash, with the shutter set at a fixed amount. Set the camera on S mode and the shutter to 1/80th and let the camera pick the
f/stop. The f/ stop that the camera selects is the same whether the flash is on or off. This means that whatever ambient light is reflected from the
subject will be further illuminated by the flash, and if the ambient is already enough to properly expose the subject, the flash will cause overexposure.

The Flash metering system just fires the preflashes and looks for the reflected light in a center weighted fashion regardless of which camera metering
system you are using or what the camera f/ stop and shutter is set to. The size of the main flash center metering area is about half the size of the area
between the four nearest focusing sensors around the center sensor. Whatever light reflects back from the preflashes plus the ambient from that area
determines the strength of the main flash.

So, you can reason that the ambient light reflected from the subject is essentially added to the exposure once by the Camera metering system and once
by the Flash metering system and overexposure is often the result if the ambient light is strong.

Here is an example of overexposure with flash when ambient is strong.

One important operational consideration that should be drawn from this is that when the ambient light is bright, it is usually best to turn down the flash
using flash compensation to about -1.7 ev to start with. This will usually avoid overexposure on especially the subject's face.

This is why Nikon invented TTL-BL.

3. Nikon TTL-BL Flash

The most advanced flash mode on the Nikon flash is TTL-BL. Originally, the BL meant BackLit, but Nikon marketing gurus changed it to mean BaLanced
Fill. (Why didn't they change the initials to TTL-BF?). The word BackLit suggests the situation for which this mode is most useful.

The photo on the left is a good example of a subject being backlit by a brighter scene.

I have discussed in the previous blog entry that in the TTL mode the Camera Metering System is entirely separate from the Flash Metering System, and
that they work independently. Well, in TTL-BL, the same two metering systems do communication with each other.

First, let's discuss what Fill Flash is and when it is needed.

Fill Flash is needed any time the background is brighter than the subject and this often occurs outdoors on a bright day (when the subject is a person). In
this situation, if you look closely at the subject's face, you will see shadows in the eye sockets, under the nose, and under the chin. When you shoot this
type of shot, it will look much much better if the flash is used to 'fill' the shadows. Another situation would be if the background behind the subject was
the bright sky. Again, flash should be used to 'fill' the subjects face and make it balance with the bright sky. One more situation would be when indoors
during the daytime, and you want to shoot the subject in front of a window with a beautiful brightly lit scene behind (like the picture above). Again, the
flash should be used to brighten the subject's face to balance with the bright scene behind.

These are the situations where Nikon's TTL-BL mode works best.
In the above example image the subjects are in front of a window and I wanted the outside to be exposed properly by bright ambient light, while I
needed lots of fill to bring their faces up to be slightly less bright than the outdoors. I put my D200 in Manual mode, ISO 200, and used the built-in light
meter to set f/3.5, 1/160th, and TTL-BL with -1.7 ev worked great in this situation to just bring up their faces to what seems a natural brightness.

Here are the steps that the camera and flash do for you as you push the shutter:

Given: Flash in TTL-BL, Camera in P mode, matrix metering, and AF-S focusing.

1. As the shutter is half-pushed, the focus system becomes active, the focus is achieved, and the overall scene is metered by the camera.

2. The data from the camera metering system and, if the flash head is pointed in the forward position, the focal distance from the D or G lens are sent
to the flash metering system. This is the only communication that takes place between the camera metering system and the flash metering system.

Note: The distance data from the D or G lens is only used by the flash in TTL-BL mode when the flash is pointed in the forward position. This is because
the only time distance can be utilized is if the system knows exactly how strong the light will be from the flash. For instance, if you are bouncing the
flash, distance information from the lens is not used.

3. As the shutter is pushed down the rest of the way, the flash fires the preflashes, and the flash metering system measures the reflected light weighted
heavily towards the center of the frame (where the subject is required to be).

4. The flash metering system (which actually resides in the camera) then compares the reflected light from the center weighted frame (subject) to the
data from the camera metering system, and uses the focal distance reported by the lens to determine the amount of added power required to make the
subject brightness equal to the overall scene brightness. In other words, it adds light from the flash to balance the brightness of the subject with the
background.

5. The shutter opens, the flash fires at the power level determined above, and the shutter closes.
Now, for this all to work well, a couple of key things must be considered. First, the subject (obviously) can only be brightened by the flash. Don't use
TTL-BL if the subject is already brighter than the overall scene. Second, flash pictures usually look really odd when the subject is just as bright as the
background. The subject seems to jump off the page unnaturally and it is obvious you used flash. Fill flash is supposed to be subtle, and when looking at
the print it is usually best that you cannot even tell that flash is used at all. Consequently, it is usually best to turn down the flash compensation by -1.0
ev to -1.7 ev, so the fill is just enough to lift the darkest shadows on the face without looking obvious.

Notice that the flash never tells the camera anything about the power setting it has chosen. The camera sets its f/ stop and shutter (in auto modes) as if
the flash wasn't even attached (with the exception of limits on shutter speed). The only coupling between the camera metering system and the flash
metering systems is when the camera sends its metering information and focal distance (if using a D or G lens) to the flash metering system.

If you are using camera Manual mode, the flash system is not told what f/stop or shutter you have selected. It only receives the metering data from the
camera metering system and uses that as the 'background' brightness. Of course the flash also knows the f/ stop and ISO from the camera settings which
are sent through the hot shoe.

Also, changing the camera exposure ev while using TTL-BL can produce some strange results, because camera ev affects both the background brightness
and the power of the flash. If you don't like the brightness of the background, it is usually best to switch to camera Manual Mode, and set the f/ stop and
shutter to give you the background brightness you want.

4. So, What is Flash Value Lock?

I've written in my previous posts about the fact that the flash metering system measures only the center of the frame. This means that if the subject is
not in the center of the frame, the brightness of the subject will likely be wrong.

Above is an example of a subject that is not in the center. I used FV Lock to make sure the subject was exposed properly by the flash. I was outdoors at a
reception on a pitch dark night, so there was zero ambient light, and I wanted the very dimly lit waterfall to come out in the background, so I used my
D200 handheld in manual mode, ISO 400, 1/8 sec, f/2.8 and my flash in TTL.
I first pointed my flash at the subjects and pushed the FV Lock button to fire the preflashes and lock in the correct flash power. Then, I recomposed the
shot to place the subject on the left 1/3 line (rule of thirds), and released the shutter. Notice that the subject is sharp despite the very slow 1/8th
second shutter speed, because the flash stopped any motion. But, look at the waterfall. There is definite motion blur there, but I used f/2.8 to make
sure it was out of focus so the motion blur from handholding the camera wouldn't show.

If I had just framed it as above to start with and taken the shot without using FV Lock, the flash would have metered the center of the frame, which was
the waterfall about 70 feet away, and it would have set a very high power. The subjects would have been totally blown out.

One very important thing to know is that when using FV Lock is that once it is pushed the flash value remains locked at that power setting until FV Lock
is pushed a second time (or the camera is turned off). FV Lock is very useful for shooting a series of shots of a group of people, so that all the images will
look exactly the same from one shot to the next.

It is also useful for those rare people who are 'fast blinkers'. A fast blinker can blink at the preflash and their eyes will be closed by the time the main
flash happens. Lots of animals are fast blinkers, so FV Lock is also good for them.

5. A Study in Camera Compensation when using Flash in TTL Mode

The SB800 Flash Instruction Manual says that when using the flash in TTL mode, adjusting Camera Compensation will lighten or darken the entire image,
which means it must increase or decrease flash power, so I thought I examine that subject.

Conditions:

Normal indoor ambient lighting

Subject five feet away is a small statue of a boy on a horse placed in the center of the frame to be sure the flash metering will measure it properly

Background is a bookcase 10 feet away

Camera in Matrix metering

Flash in TTL mode

Note: The images in this study are directly from the D200 camera without any modification except compression to make them suitable for uploading.

Image 1: Flash OFF, Camera A mode, 1/25th, f/2.8, Camera ev=0

I shot Image 1 with the flash Off using camera A mode with f/2.8 selected. I could see in the viewfinder that the camera automatically selected 1/25
shutter. Notice that the image is properly exposed with pixels in the histogram extending all the way from black shadows on the left to bright highlights
on the right and there are some shadows on the face and is approximately the same brightness as the background. The yellow color is due to the
incandescent lighting and the poor Auto White Balance function on the D200. I will not try to correct or balance the color during this study.
Image 2: Flash On in TTL mode, FEC=0, Camera A mode, 1/60, f/2.8, Camera ev=0 Note: FEC means Flash Exposure Compensation

In Image 2 the flash was used, and as soon as the flash was turned ON, the shutter changed to 1/60th, which is the lowest available flash shutter setting
as determined by CSM e2. Note that the faster shutter darkened the background a bit compared to Image 1, which is to be expected. You can see how
the dark pixels are bunched up against the left edge of the histogram, meaning that detail is being lost in the shadows. The hump of pixels on the right
come from the subject. Note that the histogram shows that there are no blown out pixels (ie, climbing up the right edge), but the subject still looks too
bright for the scene. This happened because the flash metering system measures a little too 'hot' on my D200/SB800 combination. I think this is a very
common thing on the D200/SB800 combinations. That's why I normally dial in -.7 ev on the flash for indoor shots (but this is a sidebar and not the main
subject of this study).

Notice also that the color of the bookcase in the background is still yellow since it is lighted mainly by the ambient incandescent lights while the subject
is much whiter since it is lighted mainly by the flash.

Image 3: Flash ON in TTL mode, FEC=0, Camera A mode, 1/100th, f/2.8, Camera ev = -2

In Image 3 I decreased the camera EV to -2.0. You can see that both the background and the subject got darker (just like the SB800 book says they
should). You can also see that the hump of pixels on the right moved left just like the darker pixels on the left, piling more of them up on the left edge.
The question I am studying is exactly how did the camera & flash achieve this left shift of the pixels?

Well, I observed that the shutter automatically increased to 1/100, which darkened the background. You would have expected that when starting at
1/60th it would have increased to 1/240th to achieve two stops darker. However, I have discovered that the camera knew the ambient was actually at
1/25, and 1/100 is exactly two stops darker than 1/25. Pretty smart system.

Remember that changing shutter speed does not affect the flash portion of the exposure, because the flash occurs is so short (less than 1/1000th
second).

And you can see that changing the camera ev definitely darkens the subject as well, which means it has to decrease the flash power. That indicates that
the camera compensation information is sent back to the flash metering system when shooting in TTL mode.

So, when you change the camera ev, it changes the camera f/ stop or shutter speed settings to adjust the background, and it sends the ev change to the
flash to change the flash ev by that same amount to adjust the subject.
Image 4: Flash OFF, Camera M mode, 1/25th, f/2.8, Camera ev = 0

To further verify exactly what the camera ev settings tell the flash, I first put the camera in Manual mode and set 1/25 and f/2.8 and shot Image 4 above
without flash as a reference. Note that Image 4 and its histogram looks essentially identical to Image 1, as it should, since the same camera settings
were used.

Image 5. Flash ON in TTL mode, FEC=0, Camera M mode, 1/60th, f/2.8, Camera ev=0

Then in Image 5 I increased the shutter to 1/60th and fired the flash, and this image looks just Image 2, as it should.

Image 6: Flash ON in TTL mode, FEC=0, Camera M mode, 1/60th, f/2.8, Camera ev = -2
Now, in Image 6, with the camera in Manual mode, 1/60th, f/2.8, you can see the effect of setting camera ev to -2. Comparing with Image 5, the subject
in Image 6 definitely got darker, and the histogram hump on the right moved slightly left, but the background didn't change. This proves that ev changes
on the camera are sent to the flash to the change its power, and the reason the background didn't change is because ev changes to the camera will not
affect the f/ stop and aperture when in camera Manual mode. In the previous example, the camera was in A mode, and camera ev changes will change
the shutter speed.

Image 7: Flash OFF, Camera M mode, 1/250th, f/2.8, Camera ev= 0

I took this shot without flash as a reference image to show just how little ambient there is at 1/250th. 1/250th virtually takes the ambient light out of
the exposure in normal indoor lighting.

Image 8: Flash ON in TTL mode, FEC=0, Camera M mode, 1/250th, Camera ev=0

In Image 8 I turned on the flash and took the shot. Notice the dark background, because the flash exposes the subject correctly, but only a small amount
reaches the background five feet behind the subject (due to the square law - power decreases by the square of the distance).
Image 9: Flash ON in TTL mode, FEC=0, Camera M mode, 1/250th, f/2.8, Camera ev = -2

Then, in Image 9 camera ev was reduced by 2 ev and the brightness of the subject (power of the flash) definitely decreased compared to Image 8. The
brightness of the background barely changed, though because not much of the flash power is getting back there. This is showing that you can adjust the
brightness of the subject without changing the background by changing flash power.

Image 10: Flash On in TTL mode, FEC = -2, Camera M mode, 1/250th, f/2.8, Camera ev = 0

Lastly, in Image 10 I set the camera at 1/250, f/2.8, and ev 0, and I used the Flash ev on the back of the flash to -2 ev. As you can see, the image looks
exactly like Image 9, and the hump of pixels on the right (representing the subject) is in the same spot on the histogram.

Conclusion:

This study proves conclusively that camera ev is sent to the flash in TTL mode and can be used to adjust flash power, just like the FEC button on the
front of the camera, and the FEC button on the flash itself.

6. Sequence of Events for TTL Flash

Let's assume we have these initial conditions:

normal indoor ambient lighting, camera A mode at f/3.5 and ISO 400.

Flash in Hotshoe
When you shoot a flash picture with the flash in the hotshoe, the following flash sequences take place:

1. Flash fires its preflash sequence.

2. The flash metering system measures the reflected light in the center of the frame from the preflashes and determines the power for the main flash.

3. The calculated power for the main flash is then modified by flash compensation that is set on the on the camera or the flash. This includes the
dedicated flash compensation button on the camera, the camera ev setting, and the compensation setting on the flash itself. The power for the main
flash is now finalized.

4. The shutter opens and the flash fires its main flash.
Remote Wireless Flash
Now, when the flash will be fired wirelessly a lot more communication takes place during the preflash sequence. Here are the steps:

1. The Commander fires a control flashes that tells each of the remote flashes to fire its preflash sequence.

2. Each remote flash fires its preflash sequence one at a time.

3. The flash metering system reads the reflected light from each channel individually, and adds it all together and determines what adjustments are
necessary to each individual channel. A power setting is also set into the commander unit if it contains a flash as well. Multiple flashes in the same
channel will receive the same power settings.

4. The Commander fires a second control sequence that sets each channel to the calculated power.

5. The shutter opens.

6. The Commander fires a third control sequence telling all channels to fire at the power decided in step 4.

This is why the preflash sequence gets visibly longer when more remote channels are being controlled, and why it becomes more important to block the
visible light from the commander to avoid the preflash causing the subjects to blink.

If you want to see the preflash separately from the main flash, use the FV Lock button. You will see that when the flash is in the hot shoe, the preflash
sequence is very short. As soon as you use the flash wirelessly, however, the preflash sequence gets visibly long due to all the extra communication that
must take place in this mode.

Also the preflash sequence delay can cause problems when shooting action, so it is best to use FV Lock first which removes the preflash delay.

7. How to Shoot Large Groups with Nikon CLS

Shooting a large group, say 40 people or more, using only two Nikon SB800s in umbrellas is a challenge, but you can get decent results if you do it right.
SB800s are fairly low power flashes for this type of work, so placement of the equipment is crucial. Here is an example of a recent group shot I took with
just this equipment:

Notice that this image is far from perfect, but it is acceptable. It clearly shows some of the standard problems you usually run into with a large group
and small flashes.

I used my camera in Manual mode and the flashes in TTL mode. I used the pop-up flash as the Commander with a Nikon SG-3IR filter in front of it. The
SB800 only responds to IR light that enters through the small round red window, and since the the pop-up Commander puts out both visible and IR, the
SG-3IR is useful to suppress the visible portion of the light to help keep people from blinking.

In a large room like this, where there are no walls or ceiling from which the preflash pulses can reflect, the SB800 flashes in umbrellas must have their
round red IR windows facing the Commander, or the preflash pulses from the Commander will not control or fire them.

As you may be able to tell, the ambient light was strong, and it was some weird mercury vapor color so there was no way to match the flash to it.
Therefore, there is a slight color shift between the front row and the back row indicating that the front row was lit mainly by the flash, but the farther
away from the flash you get the more the ambient had an effect.
Holding focus from the front row to the back row is always a challenge. You address this by creating as much depth of field as possible by using as small
an f/ stop as possible. However, the smaller the f/ stop you use, the more power is needed from the flashes to provide enough light.

You also want to have the rows stand as close together as possible. Notice how closely the rows are standing to each other in this image.

I used f/5.6 on this shot, because that was the smallest aperture I could use and still get adequate lighting from my flashes. I set the camera in
Continuous Servo AF with the switch on the front of the camera, CSM a1 to FPS Rate (i.e., Release Priority), and CSM a6 AF-ON Only (i.e. to focus only
when the AF-ON button is pressed). This allows me to aim at the second row, push the AF-ON button to focus (or use manual focus if I want to), and then
recompose to place the group in the frame as I want it, and then push the shutter button to take the shot, and the green focus light doesn't have to be
on for the shutter to release. This shifts the focus toward the middle of the group so depth of field is optimum for getting everyone sharp. F/5.6 is barely
adequate for holding focus across a group this large. F/8 would have been more desirable if I were using say three or four SB800's.

I put my two SB800s in reflecting umbrellas on my ten foot stands extended as high as they would go, and angled them down so the light would come
from above the group as much as possible which minimizes the fall-off of light from front to back.

Also, for a large group, you must place the umbrellas as close as possible to the group to minimize the Square Law light fall-off. In this case, I placed the
umbrellas about three feet on either side of the camera and moved as close to the group as possible. This meant I needed to use the 17mm wide angle
position on my lens.

I also had to leave some room at both sides of the frame for cropping. If you fill the frame from edge to edge, you will be able to print an 8x12 print, but
not the standard 8x10. I have never been able to find a low cost 8x12 frame anywhere, but 8x1o frames can be bought at Walmart for $6.00. When I
shoot a group, I simply look at the frame as though it is an 8x12 print and remember to leave one inch on each end.

I used a fairly slow 1/60th second shutter to allow the background to show.

Then there is the reflectivity issue. In this shot the group was mostly dressed in all-black, so the problem I had was to get the remote flashes to fire at
the correct power. Black does not reflect light very well, so the flash metering system thinks it needs to increase the flash power high enough to create
the reflection. This will totally blow out the faces. In this case, I decreased each remote channel on the Commander by -1.3 ev, and that corrected this
problem.

Once I got the flash power where I wanted it, I locked it in with the FV Lock button. This button fires the preflash sequence and locks in the resulting
power as determined by the flash metering system. This step is very important if you will be taking several group shots and you want them all to look the
same.

One more problem with shooting groups is how to get everyone's eyes open. I tell everyone to blink quickly for a few seconds, while I am counting to
three, and then I say 'Hold your eyes open' just before pushing the shutter. That works pretty well, but I also take at least three shots of each pose, so if
there is a person with eyes closed, I can copy just the eyes in Photoshop from a good image and paste them onto the final group image.

Additional Information On Shooting the Group Shot Above:

When you use SB800s in remote mode the red AF-Assist lamp in the SB800 doesn't come on, so then the choice of AF-S versus AF-C is only based on focus
performance in ambient light. In this case, I was using the pop-up flash as a commander, and for group shots I usually keep the white AF Assist lamp in
the camera turned Off with CSM a9, because it causes some people in the group to squint.

Obviously there has to be enough ambient light for the focus without any AF assist lamp. If there isn't enough light, then I normally go back to an SB800
mounted on the camera (or on a bracket) in commander mode, and switch to AF-S so the red AF Assist Lamp will come on.

However, assuming enough ambient for focus, in addition to AF-C, I have set the focus to use only the AF-ON button, and the priority on FPS (Release
Priority). This way pushing the shutter button no longer has any effect on focus.

The main thing I am trying to achieve is accurate focus on a specific point somewhere in the middle of the group. I have found that with AF-C mode it is
simple to hold down the AF-ON button and move the camera aim around and observe various points within the group pop into focus. Then, when I get the
point I want, I release the AF-ON button and the camera stays focused at that spot while I recompose to place the group within the frame where I want
it. Then the focus stays fixed on that point for a series of shots. I also watch the green focus lamp in the viewfinder to make sure the camera thinks it is
in focus when I think it is.

I could use AF-S mode in Release Priority too, but then to get the focus on exactly the point I want requires pushing and releasing the AF-ON button
repeatedly, because in AF-S mode, once it achieves what it thinks is 'focus' it stops trying, and it usually doesn't end up focused on exactly what I want it
on. I like the focus to keep 'trying' until it gets to what I want.

Another way to handle focus is to use the AF to do the initial focus and switch to Manual Focus once focus is achieved. Then focus remains fixed for the
rest of the shoot. This is actually the way I do it most often when using a tripod.

And for this group shot, I used ISO 400 and WB on Flash. Sometimes I use Daylight WB when shooting flash, which will make the image slightly cooler. But
I never use a custom WB when using flash, unless I use gels to match the flash to the ambient. Then, I use PRE to set a custom WB that matches the
ambient.
8. How the Built-In Flash Metering Works

Here is how the metering works when using the Nikon Built-In Flash.

When you select camera Matrix metering the built-in flash automatically switches to TTL-BL mode.

The question I will try to answer is: Why does it do this?

Well, when you use Matrix metering, the camera first meters the brightness of the ambient light of the entire frame fairly evenly from edge to edge.
Then, when a subject is placed in a small portion of the center of the frame, you can see that it does not cause a significant change to the matrix
measurement made by the camera. In other words, in matrix mode, the measurement that the camera makes is a very good approximation of the
background ambient light BEHIND the subject.

This approximation concept is the fundamental basis for the TTL-BL mode!

Next, the built-in flash fires its preflashes, and it measures the strength of the reflection only in the center portion of the frame, because it is trying to
measure the reflection from only the subject. In other words, the flash metering system always assumes there is a subject centered in the frame when it
fires its preflashes.

Then, the flash computer compares the brightness of the subject (based on the reflected preflash from the center of the frame) to the brightness of the
background (based on the matrix measurement of the entire frame from the camera), and it computes a flash power that will make the subject
brightness equal to the overall scene brightness. Then the shutter is opened and the main flash is fired and the picture is taken.

Now, for the pop-up flash Nikon wanted to simplify things, so they forced the flash to always operate in TTL-BL whenever the camera is in Matrix mode.
This relieves a novice photographer from ever having to make the fairly complex decision of when to use TTL mode and matrix together, which is
allowed when using an external flash in the hotshoe.

Also, it's important to understand that the choice of the camera metering mode has absolutely no effect on the way the flash meters the preflash
reflection. It always looks at the center of the frame regardless of what camera metering mode is chosen.

Now, if you switch the camera to spot metering, the camera now only measures the brightness of the subject due to ambient light; ie there is no
background metering data, so obviously there is no way for the flash to work in TTL-BL mode when the background information is missing.

So the flash automatically switches to TTL mode, and no additional metering information is sent from the camera to the flash.

In TTL mode the flash uses only its own reflected preflash information, to set a flash power to make the brightness of the center of the frame (the
subject) be a 'standard' brightness. This 'standard' brightness is adjusted in the factory to properly expose a subject of normal reflectivity placed in the
exact center of the frame.

The size of the flash metered area is exactly the same whether in TTL or in TTL-BL modes. The size of the camera metered area changes depending on
which camera metering mode is chosen.

Now, the pop-up flash can also work in TTL-BL when the camera is in Center Weighted mode, but this will only work correctly under certain
circumstances. One is when the subject occupies only a very very small portion of the center of the frame, so that the camera metering information that
is sent to the flash contains at least a little background information. Then the flash computer runs the TTL-BL calculations assuming the data from the
camera is background information. It doesn't work very well most of the time, because the subject usually occupies too much space in the center of the
frame and affects the background information substantially.

In summary, you may be able to see that there are a few situations that won't meter very well when using the built-in flash coupled with matrix
metering, because you are forced to use TTL-BL. In fact, indoors the built-in flash will often work much better if you select Spot metering which forces
the flash to function in TTL mode. Matrix mode will usually work better outdoors than indoors, because the background outdoors is generally brighter
than the subject, and with the flash in TTL-BL the flash will add brightness to the subject to make it equal the background. Matrix and TTL-BL will not
work well if the subject is brighter than or equal to the background. That's when you need to switch to Spot and TTL.

This last situation highlights one of the big advantages of an external flash, where you can leave the camera in Matrix and switch the flash manually to
TTL.

9. TTL and TTL-BL Study

After several discussions on Nikonians Forums concerning how TTL and TTL-BL work with respect to off-center subjects and distance, I thought I'd do a
study to really find out for sure. Until now, all my comments on this topic have been based on what I've seen in my wedding photography. Now, I can say
for sure exactly what is taking place.

This is more of a practical study than a scientific one. I have mostly been looking for effects, and not setting up control shots for precise measurements.
I'm interested in how to use this knowledge to take better pictures, not for a review of the system for a specification.

The first thing I wanted to experiment with was the issue of how TTL and TTL-BL differ when shooting a light subject on a dark background at the same
distance.

All the images in this study were shot with the following:
D200 Camera on a tripod
SB800 flash in the hot shoe with the head aimed forward
Nikkor 17-55mm f/2.8 AF-S DX lens
Matrix metering
Auto WB
f/2.8 and 1/60th sec unless noted otherwise
The location was indoors during daytime with blinds closed and a low intensity incandescent ceiling lamp on
AF-S Focusing unless noted otherwise

How Subject Position Affects Flash Power

In this set of tests I used a dark blue bathroom towel as a background and I placed a round white paper targets (the 'subject') at various places within the
frame to see how the power of the flash would adjust. The reason I used a bathroom towel was that the texture of the towel provided a good AF target
and I consistently got sharp and solid focus.

Image 1 Reference image, no flash , f/2.8, 1/1.6 sec

In Image 1, I used available light only, just as a reference. Notice the color of the bright 'blue' towel has shifted due to the Auto WB, which tried to make
it 18% gray. The histogram shows a narrow peak representing the narrow range of brightness values for this image.

Image 2. Flash TTL, f/2.8, 1/60th sec

Image 2 is also for reference. It also shows how the Auto WB gets the color right when flash is used. The histogram shows a similar pixel distribution as in
Image 1.

Image 3. Flash Off, f/2.8, 1/60th second

Image 3 is another reference image using the same f/ stop and shutter that will be used for the rest of the images in this study. Notice that the ambient
is so low that will not be a factor in any of the remaining images in this study.

Image 4. White disk top right corner, Flash TTL

Image 4 shows the effect on the histogram of introducing a white disk of about 3 inches in diameter into the upper right corner of the frame. If you
compare this to image 2 you can see that the background (the towel) has gotten slightly darker as a result of the flash metering system 'seeing' the white
disk. Now, carefully look at the histogram, and you can see that the main hump of pixels representing the dark blue towel has moved left, and there is a
small hump of pixels bunched against the very right edge. This small hump of pixels is the white disk, and its presence as a highly reflective subject has
forced the flash power to decrease, which is why the background (the towel) got darker. The fact that the pixels for the white disk are climbing the right
edge means that the flash has blown them out. Those pixels are overexposed and if there were any detail in such an area, it would be unrecoverable.

Image 5. Disk in upper right corner, Flash TTL-BL

Image 5 shows the effect of using the flash in TTL-BL mode. Comparing to Image 4, which used TTL, we see that TTL-BL sees the disk and tries to match
it to the background. Of course it can't match it to the background, since the background is darker than the subject to begin with, so all it can do is
reduce the flash to minimum power. This has the effect of making the entire image much darker and the background is nearly black. The pixel hump
representing the background has moved nearly to the left edge of the histogram, while the smaller pixel hump representing the disk has also moved left
so it is no longer climbing the right edge. There are no blown out pixels in this image and it would be usable.

I am skipping Image 6 and 7 where I moved the disk to the bottom left corner, because the brightness and histogram distribution were essentially
identical to Images 4 and 5.
Image 8. Disk centered, Flash TTL

In Image 8, I moved the disk to the center of the frame, and used the flash in TTL mode. You can see that now the flash metering system is more greatly
affected by the disk more than it was in Image 4 when the disk was in the corner, and it decreased the flash power further. You can tell by the left shift
of the background hump (towel pixels), and if you look closely, you will see that there is one thin line of pixels climbing the right edge indicating that
the disk is totally blown out. So, even with the substantial darkening by moving the disk to the center, it is still not enough to prevent the disk from
being totally blown out.

Image 9. Disk in center, TTL-BL

In Image 9, I switched the flash to TTL-BL and you can see that once again, the flash metering system tried to reduce the brightness of the subject (the
disk) to match the brightness background (the towel). Again, this could not be accomplished, because the subject started out brighter than the
background. The most it could do was to reduce the flash to minimum power like before. This moved the histogram to the left so that it looks essentially
identical to Image 6, and indeed it should, because both were made with minimum flash power. The fact that the disk was in the center made no
difference because the flash was already at minimum power. To state this another way, TTL-BL doesn't work right when the background is darker than
the subject.

Focal Distance Tests Using a DX lens

Image 10. Disk in center, Flash TTL-BL, focus distance set manually to infinity
In Image 10, I am studying the effect that focal distance has on flash power.

Note: I am only studying what happens when the flash head is in the forward position, because in any other position (like when bouncing), distance
information is not used by the flash.

I used TTL-BL and manually refocused the lens to infinity, and you can see the dramatic effect. Obviously, the image is no longer sharp, because it is way
out of focus. The lens is a DX lens, which reports its focal distance, and it told the flash metering system that the subject was at infinity, so the flash
increased to a very high power for the shot. I have no way to tell exactly what power the flash chose, but you can see that the histogram was shifted so
far to the right that the background pixel hump is now in the center, and if you look really close, you can see the subject pixels are climbing the right
edge compressed into a thin line, totally blown out.

Image 11. Disk in the center, TTL, focused at infinity

In Image 11 I switched the flash to TTL and refocused the lens to infinity. If you compare Image 11 to Image 8 you will see that they are essentially
identical in brightness (not image sharpness), which indicates that the flash power was not affected by changing the focal length of the lens. To state
this another way, distance is included in the flash power calculation when using TTL-BL but not when using TTL.

Conclusions

1. In TTL flash mode, the subject reflects more light back to the flash metering system when the subject is centered. This is consistent with the
comments I made in my earlier blogs that the flash monitors the center of the frame. I have found through this study, however, that the flash power is
influenced more strongly by the subject when it is centered, but it is also influenced to a lesser degree all the way to the edge of the frame.

2. It is totally clear that in TTL mode the subject will often be overexposed if the flash ev is not reduced. I have found in my own wedding and events
work that the flash works best when the flash compensation is set to about -1.0 ev for indoors.

3. TTL mode is NOT influenced by the distance that the lens reports. This was a surprise, since I had read that it was influenced slightly. I was not able
to measure any influence at all.

4. TTL-BL mode is heavily influenced by the distance that the lens reports. I was surprised by how much it increased the flash power when the lens was
refocused from five feet to infinity. I did not do a full study here, so I don't know exactly how much it increased, but by rough comparison with the flash
in manual mode it appears to have increased to at least 1/2 power if not higher. This further implies that whenever we use TTL-BL mode we must make
sure the distance from the camera to the subject is equal to the distance of the flash to the subject.

5. It is totally clear that TTL-BL does not work correctly when the background is darker than the subject. It reduces the power of the flash drastically in
an attempt to balance the subject to the background, until the flash is a minimum power. This validates my earlier blogs where I stated that it is best to
use TTL indoors, where the subject is usually brighter than the background.

10. Auto FP High Speed Sync Explained

One of the most confusing aspects of the Nikon flash system is this thing called 'Auto FP High Speed Sync'. This blog will hopefully clear up the mystery
about this mode.

Before you can understand FP High Speed Sync, you have to understand what FP means and how the Normal Flash Sync works.

FP stands for Focal Plane and it refers to the type of shutter used in most modern DSLR cameras. A focal plane shutter is actually two precisely timed
curtains positioned between the lens and the sensor that can either block light from hitting the sensor or allow light to hit the sensor. The reason there
are two shutter curtains is to be able to get much higher effective shutter speeds.

It is important to understand is that these curtains open and close in exactly the same amount of time. So the shutter speed is set by timing between the
start of the first curtain opening and the start of the second curtain closing.

Notice that the entire sensor will be open to the light at every shutter speed up to the speed of the curtain movement itself. This is the maximum
normal Flash Sync Speed. To say this another way; at all speeds up to the maximum normal Flash Sync Speed, the first curtain completely opens before
the second curtain begins to close. At any shutter speed higher than this, the second curtain will begin closing before the first curtain gets fully open,
thus never exposing the entire sensor at any one time. At really high shutter speeds, this results in very narrow 'slit' of light that travels across the
sensor.

These two curtains travel vertically across the opening from the bottom to the top, and this in itself causes some strange effects when using high shutter
speeds (small slit). If you shoot something that moves really fast like a race car from the side, you can sometimes see that the wheels seem to lean
forward a bit because the top part of the wheel was exposed after the bottom part and the top moved forward a little bit as the slit moved from bottom
to top.
As I mentioned, a focal plane shutter mechanism moves the curtains at a very precise speed. This speed is determined during manufacturing of the
mechanism and is governed mostly by how recently the shutter was designed. In older 35mm cameras, this speed was 1/60th second, but with time,
shutters got faster and faster, and in the new D300 this speed is 1/320th sec. And those race car wheels lean much further forward with an older 1/60th
shutter than with the D300 1/320th shutter.

Once you understand how the shutter works, you can begin to see what needs to be done to synchronize the flash. Depending on the design of the flash,
the length of a full power flash will vary. In an SB800, the maximum flash lasts about 1/1050th sec.

The key point is that the flash, firing at 1/1050 sec is much faster than the curtains which move at 1/250th sec on the D200 (or 1/320th sec on the
D300), so to synchronize the flash it must fire at some point after the first curtain has fully opened, but before the second curtain begins to close, so the
sensor is completely exposed to the light from the lens. You may also see that you have a choice of when you fire the flash; either right after the shutter
opens (front curtain sync) or right before the shutter closes (rear curtain sync). The timing of the flash has profound effects on the light trails when using
very long shutter speeds. It will place the light trails either in front of the subject when using front curtain sync and behind the subject when using rear
curtain sync. Rear curtain sync usually looks more natural for light trails.

Up to this point I have been only discussing the normal flash sync. However, Nikon has added a mode called 'Auto FP High Speed Sync'. You select this
mode in the menu on the camera. In this mode, the flash duration is stretched so that it fires continuously for the full curtain travel time, ie, 1/250th
sec on the D200. So, the the flash pulse that normally takes 1/1050th sec is now stretched across 1/250th sec. The official name for this operation uses
the word 'Auto' in front of 'FP High Speed Sync', because in this mode the flash will sync normally and fire normally below the flash sync speed, but it
switches automatically into High Speed Sync (stretched flash) when the shutter speed is set higher than Normal Flash Sync Speed.

This all sounds like a great idea until you find out that stretching the flash pulse causes the power of the flash to be only a small fraction of what it
normally is. In fact, the times where you would really like to be able to use a mode like this, like sports in bright daylight, you usually can't because the
high speed flash sync mode is not powerful enough. In fact, the power is so weak that you can hardly use it at all. You might be able to use it for fill in
an action shot where the subject was less than five feet away.

In addition, the power gets less and less as you increase shutter speed, because the slit gets narrower and narrower. So, in this mode the flash is
dependent on aperture and shutter speed, while in normal sync mode, shutter speed doesn't affect the power of the flash. The flash is so low when using
1/8000th sec shutter that a subject would have to be less than three feet away. Not too useful.

As a result, in my own work, I very rarely ever use High Speed Sync. In fact, I don't like the 'Auto' aspect of this, because there is no indication that the
shutter speed has set itself above 1/250th on my D200 and I end up with a weak flash without realizing it, which results in dark pictures. My
recommendation is to never turn on this feature.

11. Other Great Flash Sites

There are lots of other great blogs that discuss flash techniques, so I decided to reference them here. The things I put in my blogs are extensions and
amplifications to things I have read in these other sites plus additional things I have discovered during my wedding and event photography.

Planet Neil
Neil van Niekerk is a wedding photographer who uses both Nikon and Canon speedlights and describes his methods for making the lighting from the flash
subtle and with a natural appearance.

Strobist
David Hobby describes the equipment needed and dozens of ways to use speedlights off-camera. I highly recommend you read his blogs under 'Lighting
101'.

12. Speedlight Trick #1

One of the situations I run into regularly is that I am fairly far from a subject who is in a dim ambient setting, and there is something closer to me that is
affecting the flash metering. This could be a plant, a wall, another person, a wedding cake, or anything that can reflect the preflash pulses back to the
camera.

For example, lets say your subject is standing inside a dim room and you want to shoot a picture of her from outside the room through a doorway. If you
simply set TTL on the flash and place the subject in the center of the frame and shoot, the reflections from the doorway will make the system think your
goal is to shoot the doorway and you will get a great shot of a slightly overexposed doorframe and the subject will be pitch dark. The doorframe will be
slightly overexposed, because it is not in the center of the frame, but it will still cause the flash to reduce power drastically leaving the subject dark.

The trick is to first aim the head of the flash forward and remove any diffusers that don't push the little switch on the flash head (so distance information
can be used by the flash). Then switch the flash to TTL-BL and frame the shot and hit FV Lock.

Then, the distance to the subject is used in addition to measuring the strength of the reflected preflash pulses from the center of the frame. The flash
sees that the distance is much farther away than the doorframe, so it increases its power accordingly. This usually doesn't brighten the subject fully, but
it definitely brightens the subject far more than using TTL. Of course, once the subject is brightened to proper exposure, the doorframe will likely be
blown out, but that can't be avoided.
The way to make this trick easy to implement is to start with the camera in manual mode and matrix metering and the flash in TTL-BL. Then, switch the
camera to spot metering. That will force the flash automatically to TTL which is usually best indoors in dim ambient. Spot metering doesn't do anything
to the camera settings since manual mode has been selected. It only affects the flash mode.

Then, when you run across the situation mentioned above, switch the camera metering to matrix, and the flash will automatically switch back to TTL-BL,
and the shot will be exposed the best way possible. However, the flash may still need increased compensation to get the exposure on the subject exactly
right.

If you don't want to remove the diffuser, another way to do this is to zoom in on the subject and hit FV Lock. The flash metering system will only look at
what is in the frame center weighted. Then, zoom back out to include the doorway or whatever is between you and the subject, and take the shot. Of
course, the doorway will be blown out, but that's normally OK in this type of shot.

13. SB800 A and AA Modes

So, what are the A and AA modes are on the SB800?

Well, first, there are actually three modes that use this technology: 1) A mode flash in hot shoe, 2) AA Mode, flash in hot shoe, 3) Commander AA Mode,
wireless flash in Remote Mode.

These are all 'automatic' modes on the flash that do not use TTL (Through The Lens) technology. Instead, these modes use a small clear window in the
flash itself to determine when the reflected light from the subject is correct. Take a look at your SB800 from the front. You will see the small round
clear window on the lower left side pointed straight forward.

A Mode, Flash in Hot Shoe:

The A Mode with the flash in the hot shoe is the oldest and simplest technology used for automatic flash control. I first used an 'Automatic' Vivitar flash
in the early 80's, and it worked extremely well. This technology still works extremely well today in the SB800.

The SB800 flash defaults to AA mode, which I will discuss in a moment, so to put the SB800 flash in A mode you have to go into the menu on the flash and
choose A mode. Press ON/OFF to exit leaving the flash in A mode.

The concept of the A Mode is very simple. The flash pulse fires (turns ON) when the shutter is pushed, and there is a thyristor circuit inside the flash that
measures the reflected light from the subject through the little clear window. The flash pulse stays ON until that reflected light accumulates to a certain
amount, and then the circuit turns the flash OFF.

Of course the flash needs additional information about the camera settings in order to work. In the older Automatic flashes, you had to enter the ISO and
f/ stop manually into the flash. With the SB800 in A Mode, the ISO is picked up automatically from the camera through the hot shoe, but you still have to
enter the f/ stop manually using the rocker switch on the back of the flash.

Then you simply aim and shoot. The flash takes care of the exposure automatically.

One very nice thing about the A Mode on the SB800 is that there is no preflash pulse sequence to cause people or especially animals to blink.

NOTE: If you want to observe the preflash pulse sequence separately from the main flash pulse, simply put your camera in flash Rear Sync, and set a long
shutter, say 1.6 sec, and push the shutter. The preflash sequence will occur at the instant the shutter is pushed, and the main flash pulse will occur at
the end of the shutter sequence right before the curtain closes. This is handy for verifying what I am explaining about no preflash pulses when using A
Mode.

AA Mode, Flash in Hot Shoe:

The AA Mode is the default mode for the 'Automatic' flash modes. If your flash is sitting in the hot shoe, and you cycle through all the modes, you will see
AA in the list unless you have changed it to A.

The AA mode is nearly identical to A mode except for two things: 1) the flash automatically picks up both the aperture and the ISO that you have set on
the camera, so AA mode is really fully automatic, and 2) a preflash pulse sequence is used.

To use AA mode, simply select it on the flash, point and shoot. The flash will adjust the flash power automatically based on the light reflected from the
subject and received into the small round clear window.

Now, one thing I have not been able to figure out is why a preflash sequence is used when the flash is in AA mode. I can see no reason for it, and am
open to all ideas from you. The preflash sequence is used in TTL modes so the flash metering circuits in the camera can measure the reflected light from
the subject, but when using AA mode, the flash measures the reflected light from the subject during the main flash. The preflash sequence seems
unnecessary to me.

You can use the technique I mentioned above to verify that there is, indeed, a preflash sequence when using the flash in AA mode in the hot shoe.

Commander AA Mode, Flash in Remote:

The third 'automatic' flash mode is the Nikon Wireless version of the AA Mode. The flash is set to Remote Mode and placed separate from the camera
with the small round red IR window facing the commander. Then AA Mode is selected on the Commander menu on the camera. In this mode, the
Commander sends a preflash pulse to the flash telling it to use its internal AA mode followed by the command to fire the main pulse. The remote flash
also fires a preflash pulse for some reason.
So, When would you use these modes?

A Mode can be useful when shooting pets. It eliminates the problem of the fast blinkers who can close their eyes so quickly that they are closed by the
time the main flash fires. The alternative is to use TTL mode and FV Lock. I use both techniques. Some animals are greatly bothered by the flash, so I use
A mode just to reduce the flashes the animal has to put up with.

A Mode does a very good job of setting the flash to the correct power. However, it still suffers from the same problems as TTL, i.e., it sets the flash
power too high when the subject is black (or dark colored) and it sets the power too low when the subject is white (or light colored).

I have never used the AA mode. I find TTL and TTL-BL to be superior to it. However, I have heard that some people use Commander AA Mode with
multiple flashes in umbrellas. They say that they produce more accurate results than TTL mode. I plan to try this the next time I shoot a group (I don't
shoot many groups, so that could be a while).

14. Basics of Flash Brackets and Diffusers

I am often asked about diffusers and brackets. Photographers mostly want to know what they do and which ones are best.

Well, both the bracket and the diffuser were introduced into photography to solve the problems of the small flash.

The problems of a small flash, when used pointed directly at the subject, are that it makes harsh, flat light, that often causes 'Red-Eye', and, when
turned to the vertical, casts a harsh shadow to the side of the subject.

HARSH LIGHT
In general, harsh light comes from a physically small 'apparent' source. An infinitely small source is called a 'point' source, because the light comes from a
single point.

I use the word 'apparent' because the both the size of the source and its distance from the subject cause the apparent size to change from the
perspective of the subject. For example, one of the harshest light sources is also one of the largest - the sun. It is huge - over 800,000 miles in diameter,
but it is so far away 93,000,000 miles, that it acts as a point source to a subject here on earth. In other words, its apparent size is very tiny. This type of
light casts very harsh shadows and makes facial features appear dull and lifeless.

The solution to harsh light is diffusion. Diffusion is the process of scattering the light from a point source so that it acts like a much bigger source. Think
of the sun on an overcast day. The light still comes from the sun (effectively a point source), but the clouds scatter the light as it falls on the earth so
that is becomes some of the softest light you can find. In effect, the clouds have changed the apparent size of the sun from a point source to a source
the size of the entire sky. You can make extremely good portraits on an overcast day outdoors, where the facial features have nice texture and seem to
come alive.

The shoe-mounted flash is also a very small physical size size (about 3 square inches) and is an effective point source beyond a foot or so. Consequently
it makes extremely harsh light that is not suitable for portraits without modification (diffusion).

Now, some people think that simply putting a diffuser in front of the light will make it soft, but this is not the case, because that does nothing to
increase the apparent size of the flash.

There are two ways to create diffusion when using a small flash. 1) utilize a physically large 'retransmission' system or 2) bounce off large surfaces. You
can also use a combination of these two.

A 'retransmission' system is usually made from a large piece of translucent material that is lit by the flash that then retransmits the light evenly across its
surface. The Gary Fong Light Sphere II is such a system. It looks like an inverted Tupperware bowl that is mounted on the flash. Then, the flash is pointed
straight up and when it fires the whole translucent bowl lights up. In fact the cross section area of the bowl is about 16 square inches, or about five
times larger than the flash itself. This softens the light so that portraits made within about five feet are noticeably softer than the bare flash.

Another even better 'retransmission' system is a soft box. If you get one that is 36 inches by 48 inches, that's 1728 square inches of area. This is 108 times
larger than the Light Sphere, and creates light that just as soft as the light on an overcast day outside.

The problem is portability. How big is too big to carry mounted on your flash. My personal feeling is the the Light Sphere II is about as large as you can
conveniently handle under normal circumstances.

As you probably know, the SB-800 flash comes with a small snap-on diffuser. If you own an SB-600, you can buy an after-market snap-on diffuser from
companies like Sto-Fen. Just looking at this snap-on diffuser, you can see that it is physically very small and the question is: does it work? It is obviously
not much bigger than the bare flash itself, so it cannot increase the apparent size of the flash directly. However, think of this small diffuser attached to
the flash and the flash pointed straight up. Then when it flashes, the light scatters to the sides, up, back, and everywhere but down. This means some of
it goes directly to the subject, but most of it goes towards walls and ceiling where it can bounce, sending some of the bounced light back at the subject.
The key is that the bounced light hits the subject at a different angle than the direct light. This different angle is what makes the apparent size of the
flash much larger. So, there is a small portion of the light which is still harsh that goes directly at the subject and the rest that bounces off walls and
ceilings is soft. The small amount of harsh direct light is what makes the 'catch-light' reflection in the eye of the subject and is not objectionable.

The reason the Light Sphere II works so well is that it is large AND it scatters light in all directions. This makes it work extremely well indoors where the
direct light is much softer than the small snap-on diffuser, and the walls and ceilings all increase the softening effect more than with the small snap-on
diffuser.

Now, outdoors, all the light that scatters from a diffuser is lost forever. It never makes it back to the subject. This leaves the subject lighted entirely by
direct light from the flash which is still harsh because the apparent size of the flash is still small. So, outdoors, the only thing that happens if you use a
diffuser is that your flash batteries run down quicker, because the flash has to flash at a much higher power to light the subject than normal. The
bottom line is that outdoors, never use a small diffuser; just use the flash direct. However, the Light Sphere II is useful outdoors due to its large size
which softens the direct light out to about five feet.

SHADOWS AND RED-EYE CONTROL

Flash shadows are always objectionable and you should always strive to eliminate them.

Red-eye is also extremely objectionable. It is caused by the flash reflecting off the retina of the eye and back into the picture. Red-eye is best addressed
while taking the picture, but can also be somewhat corrected during post-processing. I will discuss how to avoid causing it in the first place.

The solution to the red-eye and shadow problem is to raise the flash higher above the camera while keeping it directly above the lens axis. This can be
achieved with either a flash bracket or a flash diffuser that sits high above the flash.

The flash bracket attaches to the tripod mounting hole on the bottom of the camera and the flash mounts on its top directly above the lens. It raises the
flash several inches higher than when the flash is in the hot shoe. Then, there is a cable that attaches the hot shoe on the bracket to the hot shoe on the
camera, so that the camera thinks the flash is still in the hot shoe.

The main reason for raising the flash higher above the camera is to force the flash shadow down behind the subject where it can't be seen. The LS-II
diffuser also raises the flash high enough to fix the shadow problem when the camera is in the horizontal orientation.

Also, by raising the flash higher above the camera, the angle of the direct light causes the red-eye reflection to fall below the camera lens. This simple
step eliminates 99% of the red-eye problems. It is important to note, however, that the farther you are from the subject, the higher the flash needs to
be raised to avoid red-eye. For instance, if you are using a telephoto lens, and you zoom tightly onto a person's face from 30 or 40 feet away, you risk
red-eye.

So, the solution to red-eye is also the bracket, although with a DSLR, the flash is already much higher above the camera than with a point-and-shoot, so
red-eye problems are less of a problem.

There is another very important feature of a flash bracket - it fixes the dreaded 'side shadow'.

When you turn the camera to portrait orientation (vertical), and the flash is mounted in the hot shoe, you cast a shadow to the right of the subject on a
wall. This shadow is very unprofessional and is to be avoided at all cost. With a flash bracket either the camera or the flash rotates so that the flash
always remains directly above the camera. By locating the flash above the camera, the shadow will now fall behind the subject and out of sight.

This is a disadvantage of using the Light Sphere II diffuser. The LS-II still casts the side shadow, although it is less defined as with a bare flash. Often
when I want vertical orientation while I am using the LS-II, I simply shoot horizontal and crop to vertical later in post processing.

Another important consideration with a flash bracket is the direction you rotate the camera when going to to vertical. Most professional photographers
rotate the camera counterclockwise so that the alternate shutter release button is on top and useable. But some flash brackets for some unexplicable
reason force you to rotate the camera clockwise, so you have to be careful when buying. I use a Custom Brackets 'CB Junior' with my D200 and SB-800. It
is relatively inexpensive at about $110 and works well.