NikonWorld of

PhotographyNew Creative Techniques

.Vol. 2

A FUSION OF ART AND SCIENCE

The challenge of taking dramaticclose-ups using creative lighting

1. TTL control without Balanced FiJI-Flash

NikonWorld ofPhotography

3

The scene's overall lighting was low andthe brightness of the background wassimilar to that of the foreground. Youcould hardly see the butterfly.In this ambient lighting condition, picture2 was the result of using the Nikon F4 inthe Programmed exposure mode and theNikon 8B-25 8peedlight in the Balanced

3. TTL control without Balanced Fill-Flash Fill-Flash control mode. Off-camera flashwas the technique involved using theNikon 8C-17 TTL flash cord. Notice theoverall uniform lighting and the slighthighlighting of the butterfly. BalancedFill-Flash created this effect.Realising that Balanced Fill-Flash wasnot the only technique available to createthe picture, the photographer turned offBalanced Fill-Flash control, switched tomanual exposure control and changedthe picture's composition by changingthe angle of view (3). Picture 1,whichspotlights the subject against a near-black background, creates a much moredramatic effect.

• • • • • • •The challenge oftaking dramaticclose-ups usingcreative lighting

••• • •• •

-l

Subtle adjustments to subject lightingmake a world of difference in your

photography. The right lighting can bethe difference between good and greatphotography. A butterfly, resting on aleaf, was the subject of our photographs.The examples illustrate the importance ofcontrolling background exposure, as wellas the main subject'S exposure, throughthe use of creative lighting. The photog-rapher creates a more dramatic pictureby carefully composing the image andcontrolling the exposure.

Using light to create dramaticpictures

Exposure

Using the camera's Matrix Meteringsystem in the Programmed mode, thephotographer noted the overall exposureof the scene in the ambient lightingcondition through the lens in use - theMicro- ikkor 200mm f/4 IF - by check-ing the aperture and shutter speed indi-cated in the camera's finder. Since thelight was dim, the aperture indicated waswide open at f/4, with a 1/60 secondshutter speed. The photographer thenmanually adjusted the lens aperture tof/16 and increased the shutter speed to1/250 second. The ambient light of thescene was underexposed by about 6.5 EVas a result, which turned the backgroundnearly black. In addition, the smalleraperture ensured sufficient depth of field,thus keeping the butterfly sharply in focus.

Nikon F4 camera settings

Meter selected: Matrix metering 0Exposure mode: Manual control f)Shutter speed: 1/250 second top sync

speed eAperture seuing. f/16 (aperture may

be larger or smaller depending onambient light's brightness) 8

Drive mode: Single-frame eExposure compensation: NoneFocus mode: Manual with lens in use e.

Autofocus possible with AF Nikkoroptions.

Flash exposure

TTL flash control was used, but withBalanced Fill-Flash control turned off.Holding the flash to the left and slightlyto the rear enabled the butterfly to belightly silhouetted in picture 3. By lower-ing the angle of view even more, but stillusing the same lighting, the photogra-pher created a more dramatic image inpicture 1. In both pictures, the photogra-pher was careful to keep the flash out ofthe viewing area, but close enough toensure that sufficient light was availableto maintain the f/16 aperture. Check theLCD panel on the SB-25 to make surethat the combination of ISO film speed,flash-to-subject distance and selectedaperture is within the picture-takingrange of the flash.

Nikon SB-25 Speedlight settings

Mode: TTL for through-the-lens control.Press M button to turn off BalancedFill-Flash control, making the person/sun symbol disappear 0

Sync: ormal f)Flash exposure compensation: NoneZoom control: Set to a wide position

to ensure easier aiming of flash heldoff camera e.widest position reducesflash brightness. Check the LCDto make sure you have not lost toomuch light to maintain small shootingaperture.

a Lens selection

005'1' 61' AF Zoom-Nikkor AI" Zoom-Nikkor

35-70mm rl2.BO BO-200mm fl2.BD ED

When photographing insects or othersmall subjects, keep as far away from thesubject as possible. This way, you canmore effectively1ight the scene and alsoavoid casting a shadow on the subject. Inaddition, by staying farther away, you areless likely to frighten the subject, possiblylosing the shot.For these pictures the photographerchose a Micro- ikkor 200mm f/4 IF lens,which is capable of extreme close-upphotography with a substantial workingdistance. As an alternative, you can useAF Zoom-Nikkor lenses which offermacro focus capability. Close focusingvaries, depending upon the lens used but,typically, focus is close enough for a 1 : 6to 1 :8 reproduction ratio. If, when shoot-ing with one of these lenses, you want toget even greater magnification, try oneof the Nikon accessory close-up lenseslike model 5T or 6T. These accessoriesare specially made to work with ikontelephoto optics. While no conventionaloptics can match the superb performanceof a Mlcro-Nikkor, these close-up lensesperform exceptionally well and they arecomparatively economical, too.

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5

A F'USION OF' ART AND SCIENCEI

The challenge ofprecise exposure control

1.Standard TTL flash with Spot Metering

6

NikonWorld of

Photography

7

What is the correct exposure? That'sa question that has always been in

dispute and will probably remain so. Thereason for this stems from each individ-ual's idea of picture exposure, which isnot a technical matter but an aestheticone, allowing for personal taste in theconsideration.One solution used to get a range of expo-sure control in the past was exposurebracketing - a technique that gives thesame scene a variety of exposures. Ex-posure bracketing can satisfy everyone'staste, and there usually is at least oneacceptable end result. In making expo-sure brackets, the photographer oftenconsiders only the "total exposure". Herarely takes into account that changingthe total exposure would result in moredifferent effects for the highlighted areasthan for the shadow areas. One solutionto this limitation is to add fill-flash light-ing to the scene. This allows thephotographer to control exposurefor the highlights by bracketingthe basic exposure, and to controlexposure for the shadow areas byadding an appropriate amount offlash lighting. This may sound veryeasy, but in the past it was anenormously complex process tocalculate the various combinationsof flash and ambient light expo-sure, and then to execute these calcula-tions with exposure control. Lightingcould change at the last moment, subjectsmight move, or the scene's lighting con-trast might vary continuously.

The solution

Today, Nikon offers a solution to theseproblems. The results offer more oppor-tunities for creative exposure controlthan ever imagined - and it is surpris-inglyeasy.Consider the two exposures shown here.Each picture is a unique rendering ofthe same scene, and each exposure usesboth ambient lighting and fill-flash illumi-nation to create a different mood.Picture 1 was made by taking a spotmeter reading from the sky area andusing controlled fill-flash to brighten theforeground. Picture 2 was made with amore general exposure setting (e.g.,Matrix metering) based on the entirescene's brightness and contrast; fill-flashbrightened the foreground. The two8

results are dramatically different, yeteach is a fine photograph in its ownright. How can you accomplish the samevariations in your exposure controlsystem?These pictures were made using theNikon F4 and the Nikon S8-25 Speed-light.The Nikon F4's exposure control systemincludes a selection of three light meter-ing methods, including Matrix metering,Centre-Weighted metering and Spotmetering. With the F4's TTL flash expo-sure control system, you will be able tomanage extremely complex exposuresituations, with automatic simplicity,or with as much manual control as youwish. Here's how these two pictureswere taken.Our photographer decided to renderthe scene in two different ways: first,a dramatic sunset-like appearance withdark silhouettes against the sky and aslightly brightened foreground; second,a more evenly illuminated scene but withthe foreground clearly visible.

Playing with exposure

For picture 1, use the F4's spotmeter to take the primary ambientbrightness reading off a bright area

of the sky but not the sun. The narrowangle of the spot meter, which varies de-pending on the focal length of lens in use,allows you to determine the brightnessvalue upon which ~obase the exposure.Recognising that there is a limit to afilm's ability to render detail over anextreme range of brightness, you shoulduse fill-flash to brighten the foregroundand bring out detail. Notice that the fill-flash only brightens the foreground andleaves the silhouetted rocky backgroundvery dark, thus accentuating the satu-rated colours of the sky. To ensure thatthe foreground does not become overlybright, set the S8-25's fill-flash output toa -2 EV setting. The camera settings are

shown in the accompanying illustra-tions. Varying the S8-25's fill-flashsetting (from +1 to -3) will changethe balance of exposure betweenthe foreground and the background,thus offering various brightnessranges, while keeping the same

ambient light exposure. Thisexample demonstrates the possibility

of varying (i.e., bracketing) the fill-flasheffect with a simple pushbutton setting ofthe S8-25.Picture 2 shows how Nikon's fully-auto-matic Matrix light metering systemestablishes the ambient light exposure.The meter's five sensors evaluate thebrightness and various contrasts of thescene and then establish the ambient ex-posure settings (aperture and shutter)depending on which exposure controlmode is in use. We can readily see thatthe Matrix meter, unlike the Spot meterreading of the sky area, takes into ac-count the darker rocky areas and bright-ens the overall exposure. However, evenwith the brighter Matrix reading, theforeground can still benefit from somefill-flash. Using the S8-25 Speedlight,on its completely automatic 8alancedFill-Flash setting, we allow the systemto operate totally automatically. To adddimension to the picture and bringout extra detail in the foreground, thephotographer held the flash off-camera,using the Nikon SC-17 TTL cord. Thiscord maintains all automatic functions,

but allows the photographer to creativelyposition the flash.These photographs are just two examplesof how you can expand your picture-tak-ing potential, with uncomplicated opera-tion. With Nikon's latest systems, you arelimited only by your creative insight.

Nikon F4 camera settings

Meter selected: Matrix 0 and Spot f)Exposure mode: Manual exposure

control 0 or any automatic setting,together with AE-lock

Drive mode: Single-frame 0Exposure compensetion: NoneLens aperture: Small aperture for

these pictures, to keep foregroundand background relatively sharp O.

-

• • • • • • •The challenge

or preciseexposure control

• • • • • ••

These scenes were made using KodakEktachrome 100 colour reversal film.Other types of film will render coloursdifferently - a matter of personalpreference.

Variations

Determine the exposure settings withoutusing a filter, then Slip on a Nikon ~arkblue (B-12) filter. It makes the daylightscene appear to be a night scene. Trydark amber (A-12) to give the scene awarm feeling.

AF Nikkor AF Nlkkor20mm fl2.8 28mm fl2.8

For these photographs we used the AFNikkor 24-50mm f/3.3-4.5. The short Io-callength establishes a strong f?re- .ground perspective. An alternative cholcewould be an AF NikkoI' 20mm or 28mm.

~ Film selection

A special note

We recommend using a tripod for shoot-ing scenery. Although it may be a littlecumbersome to carry, it will assuresharper pictures than possible wi.thhand-held cameras. This is especiallytrue when u ing very small lens aper-tures that usually require relativelyslow shutter speeds. Don't forget touse a lens hood to help con-trol flare, and neverlook directly into thesun when viewingthe scene.

9

A ~'lJSION OF' ART AND SCIENCE

The challenge offreezing the action

Matrix Metering and Freeze Focus

10

NikonWorld of

Photography

Itis said that timing is everything inlife, and for this picture it's certainly

true. Catching the action at the endof the race at the precise moment, orcontinuously shooting as a subject ismoving, while maintaining crystal-sharpfocus, has all been done before. However,catching that precise moment used torequire either very complex equipmentor extraordinary reflexes and a team ofspecialists. To follow-focus requiresprofessional skill. These kinds of pic-tures are great shots that you may haveadmired from afar, thinking that youcouldn't have taken them yourself.

The solution

1I

Now, with the new technology offered byNikon's latest models, the Nikon F4 andthe Nikon F-801s and their accessoryMulti-Control Backs the MF-23 andMF-21, making this picture is much easierthan you might have imagined.You won't need complicated electronictrip wires or space-age laser trippingbeams. All the technology necessary tomake the picture is built into these two

ikon SLR models.To make the picture shown here (orvirtually any action picture like it) youneed to pay attention to important de-tails. The correct timing to catch the peakof action can be taken care of automatic-ally, just as most of the other picture-taking operations.

Exposure

You may use any of the exposure controlmodes offered in the two models, but werecommend using the Shutter PriorityAutomatic mode. This mode lets youchoose the shutter speed, with the expo-sure control system automatically select-ing the matching metered aperture.

Choose a relatively fast shutter speedto accomplish two things. Firstly, a highspeed of about 1/1000 second or faster,will freeze the action. Secondly, using thehigh speed will require a relatively largeaperture, resulting in a shallower depthof field. This will make the main subjectappear much sharper against the blurredbackground. The visual effect has greatimpact and is a favourite technique ofprofessionals.For metering, we recommend using theMatrix Metering System. It's the mostcapable of all meters offered withinNikon's system. If you choose to useCentre-Weighted or Spot metering, besure that you choose an appropriatebrightness value to base the exposureupon. Be careful when doing this, or atthe last moment, things could Change andyour efforts will be wasted. You candepend on the Matrix Meter to handlequick-changing and complex conditionswith relative ease.

Continuous shootingSince you'll be shooting an actionsequence, we suggest that you use acombination of the built-in motor drive'scontinuous operation modes and Auto-focus in the Continuous Servo mode.The available selection of continuousoperation modes differs among cameramodels. For the F-801s, you may chooseContinuous low speed which operates atabout 2 frames per second (fps) or highspeed at about 3.3 fp . When using lowspeed, auto focus will operate for eachexposure. However, with high speedmotor drive, autofocus operates only forthe first frame, and remains set at thatfocused distance as long as you keep theshutter release button depressed. Opera-tion with the Nikon F4 is similar, but withfaster framing rates and the additionalfeature of Continuous Silent mode.When using Continuous Servo Autofocusoperation, always make sure that thefocus detection area, outlined in thecamera's finder, remains on the subject.

•• • •• • •The challenge

of (reezingthe action

• • • • • • •When using this mode with the F-801sand the F4, the camera's computer con-tinuously monitors subject movement,adjusting the lens as necessary. However,the speed of auto focus operation cannotalways match the speed of a movingsubject, and since the shutter may bereleased regardless of focus status, youmay wish to consider using an alterna-tive mode when photographing movingsubjects: such as-Freeze Focus whichoperates in connection with the optionalMulti-Control Backs.When using the Nikon F-801s and F4,Focus Tracking operation is possible. Thisspecial mode enables the camera's focusdetection system to accommodate for themovement of the subject under certainconditions, by adjusting focus to take intoaccount the time factor which occurswhile the mirror is moving, just prior tothe shutter actually being released. Thatbrief time period can alter image sharp-ness of moving subjects if not factoredinto the auto focusing operation. FocusTracking operates only in connection withsubjects which move at a constant rate ofspeed, either directly towards or awayfrom the camera. Subjects which moveat a varying rate of speed and/or at anangle to the camera will not be accom-modated by this system. The camera'scomputer will automatically detect sub-ject motion, and if conditions are properwill automatically engage and disengageFocus Tracking, as appropriate. The view-finder display will indicate the status.

Freeze Focus

For our picture, we wanted to capture thefinal moment of the race: breaking thefinishing tape. Here's the setup: set yourcamera on a steady tripod and manuallyfocus the lens on the finishing tape. Thenrecompose so that the tape is not withinthe focus brackets of the viewfinder.Otherwise, the shutter is released as soonas Freeze Focus is activated. After doingthis, set the Multi-Control Back to activateFreeze Focus (another description forthis control is "focus priority"). This is howit works: it allows a picture to be takenonly when the focus is sharp, which is sig-naled by the viewfinder's circular focusconfirmation display. All the equipmentsettings are shown in the accompanyingillustrations. Preset all controls, leavingnothing to be done at the last moment

11

• • • • • • •The challenge

of freezingthe action

• • • • • • •

except pressing the shutter release button.If you prefer to focus manually, using thetraditional follow-focus method, you canstill use the Freeze Focus mode. Justpress the shutter release, as in autofocusoperation, then manually adjust focus.When the subject is sharply focused, thefocus confirmation signal will appear andthe Multi-Control Back will automaticallyrelease the shutter. Using the motor'scontinuous operation enables continuousshutter release as long as the focus con-firmation signal is visible. As soon as itturns off (i.e., focus is no longer Sharp), orif you remove your finger from the shut-ter release button, the shutter will stopfiring. The entire operation is practicallyfoolproof.

Nikon F-801s camera settings

Meter selected: Matrix 0Exposure: Shutter Priority automatic f)Shutter speed: 1/1000 second eAperture selection: AutomaticLens aperture setting: Set the AF

ikkor to the minimum aperture andlock-in position.

Drive mode: Continuous low speed eExposure compensaUon: NoneFocus mode: Preset focus on finish line:

Freeze Focus operation using Multi-Control Back model MF-21 0

12

'::O~~~~~~~~-":8~~~~-----' Freeze Focus is an important------...,1 feature which can be used

lHTERUl~ )LONe UP not only to capture fast-AUTom

res "OR ~ moving, but also stationary@D ~ ~ (@ subjects. The picture of theQZD ozD [@ bird is an example of man-

'-- __ ---: ---.l ually pre-focusing the lensto some predetermined distance, thenwaiting for the subject to enter the fieldof focus. For this picture, the bird walkedinto the path of view and at the momentit was in focus, the Multi-Control Backautomatically activated the shutter. TheMulti-Control Back with its Freeze Focusand many other related functions is idealfor all sorts of remote-control photogra-phy - even for close-up work.

Multi-Control Back settings:Model MF-21

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• Lens selection

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AF Zoom-NikkorBO-200mm f/2.BD ED

The choice of focal length that youmake will significantly change the vis-ual effect you achieve. We recommendusing a minimum focal length of about

200mm. The picture on page 10 wastaken using the AF ikkor 300mm f/2.8.A longer focal length will compress theperspective. A good alternative is a zoomlens, such as the AF Zoom-Nikkor 70-210mm D, 80-200mm D ED or 75-300mm. These lenses offer the conveni-ence and versatility of zoom operation.All AF Nikkor lenses include a built-incomputer which works together with thecamera's computer system for maximumperformance. Although Freeze Focusoperation will work perfectly with anyNikon lens (whether or not it is an AFtype) certain features may not operate tofull potential, or not at all, when the lensin use does not have a built-in computer.Our setup was on a tripod with the lensaimed about chest-high. For dramaticvariations, try a lower angle.

iI Film selection

We recommend a high ISO film such asKodachrome 200 or one of the fasterEktachrome films. This allows you to usehigher shutter speeds and still be ableto maintain sufficient depth of field toensure subject sharpness.

A special note

A F'USIO:'-J OF' ART AND SCIENCE

The challenge oftaking nighttime portraits

TTLMatrix Balanced Fill-Flash

ikonWorld ofPhotography

13

hen the sun goes down and citylights go on, too many photogra-

phers stop thinking creatively becausethey become overwhelmed by the com-plexity of multi-light source photography.Now, dramatically beautiful picturesunder night light conditions can be moreeasily made using the latest photo tech-nology in the Nikon system.The picture of the girl, illuminated byflash and with a bright neon-lit back-ground, was easily made using the NikonF-801s and the Nikon SB-25 Speedlight.This combination of equipment offersadvanced automatic performance, allow-ing the photographer to concentrate oncomposition, instead of the complexcalculations for exposure required byordinary photo equipment.The automatic features incorporated inNikon equipment, which are importantin making this an easy picture to take,include Niknn's Matrix Metering system,Balanced Fill-Flash control, focus assistLED, rear-curtain flash synchronisation,Aperture Priority auto-exposure controland more.

Focus

Accurate and sharp focus was accom-plished using the F-801s's autofocussystem and the SB-25's focus assistLED. The foreground subject (the girl)was in virtual darkness, making it impos-sible to focus using ordinary visual aidssuch as a ground glass or an opticalrangefinder. For this picture we let theF-801s/SB-25 combination operate inthe single-servo auto focus mode. Usingthis mode, the system automaticallyactivated the SB-25's focus assist LED,thus allowing focus operation to becompletely automatic. Even though thephotographer could not visually con-firm sharpness, the picture came outaccurately and sharply focused. NoteI..J

that the focus assist LED operatesexclusively in the single-servo auto focusmode.

Exposure

Available lightwas complex, sowe used a com-

~--------' bination of dimambient lighting and flash illumination.Ordinary systems would require carefulcalculation in order to determine theproper exposure while keeping the vari-ous areas of the picture (foreground andbackground) in balance. The NikonF-801s's Matrix Metering system auto-matically calculated the exposure for thebackground brightness and then con-trolled the SB-25's flash power, provid-ing just the right amount of brightness toilluminate the girl. The exposure that wasautomatically calculated ensured thatthe neon illumination would saturate thebackground with vivid colours, while theflash exposure would retain the delicateskin tones so important in portraiture.

Choosing the exposure mode

Our photographer decided that thebackground illumination should be outof focus, so that it would contrast withthe sharply focused girl. To accomplishthis he set the F-801s's exposure controlto the Aperture Priority (A) mode. Open-ing the lens aperture to maximum, hethen pressed the F-801s's depth-of-fieldpreview button, while slowly closing theaperture which was small enough toensure that there was sufficient depthof field to keep the girl in focus. Thephotographer was careful to maintain alarge enough aperture, ensuring that thebackground remained out of focus.Viewing was comfortable because theF-801s uses Nikon's special BriteViewfocusing screen. Bright focusing screensnormally don't give the viewer a com-fortable perception of sharpness, whichplays a crucial role in determining depthof field. But Nikon's BriteView screen letsyou visually perceive sharpness withoutstraining the eyes.

Flash smcnrontsauon

For this picture we chose rear-curtainflash synchronisation. This assured thatthe flash fired at the end of the longexposure. Selecting rear-curtain syncensures that if there is any subjectmovement, the resulting blur from theambient illumination will trail the sub-ject's movement. With front-curtain syn-chronisation the b1urwould appear tolead the subject'S movement. The choiceof synchronisation setting may some-times require a technical consideration;will the resulting picture seem naturaland logical? For this picture it was apurely creative decision, and there isvirtually no blur effect since the subjectstood relatively still.

Nikon F-80ts camera settings

Metersetected. Matrix 0Exposure mode: Aperture Priority; you

may choose manual control as analternative f)

Focus mode: Single-servo autofocus e;permits use of SB-25's LED focusassist system

Exposure compensation: NoneLens aperture seuing. Your choice

based on depth of field and mainsubject sharpeness. Use the depth-of-field preview button for viewing 0

Nikon SB-25 SpeedUght settings

Control mode: TTL for Balanced FiII-Flash 0

Zoom positton. automatically setaccording to computer control andthe AF Nikkor lens in use f)

Sync mode: Rear eFlash exposure compensation: None;

try experimenting with some amountof minus compensation for darkeningthe foreground subject.

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Lens selection.~r

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AI' Zoom-Nikkor AI' Zoom-Nikkor28-85mm f/3.5-4.5 35-105mm f/3.5-4.5

The photographer chose the AF Nikkor35mm f/2, a compact and fast lens; ex-cellent for journalistic work and with itsfast aperture, excellent for night photog-raphy. The modestly wide angle allowed

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for a comfortable perspective, eventhough the photographer was relativelyclose to the subject.An alternative lens selection could be azoom lens, allowing you to experimentwith varying angles of view. While azoom lens will have a smaller maximumaperture, you should still be able toeffectively compose with the F-801s'sBriteView focusing screen.A longer focal length lens will compressthe perspective, making the backgroundappear closer to the foreground subject.While you may choose to experimentwith varying focal lengths to achieve dif-ferent visual effects, all other settingsand procedures remain the same.

;, Film selection

This picture was made using Kodachrome200 film. The higher ISO speed helpedthe photographer keep shutter speedshigh enough for the camera to be hand-

I held under dim lighting conditions.

• • • • • • •The challenge

01'takingnighttimeportraits

• • • • • • •

A special note

Most people have difficulty holding acamera steady. An unsteady camera isone of the leading causes of unsharppictures. Trying to take a picture at aslow shutter speed is a real challenge.The accompanying illustration showstwo ways which will help you hold yourcamera steady - one for vertical com-position and the other for horizontalcomposition.Just before you take the picture, breatheout slowly, then hold steady at the mo-ment you take the picture. This willprevent erratic camera shake, assuringsharper results.If you have difficulty mastering this, usea tripod or some other bracing system.You'll be amazed how sharp your pic-tures will become. A steady camera anda sharp Nikon lens make all the differ-ence when you're trying to take yourgreatest pictures.

15

The challenge ofnight-action photography

NikonWorld ofPhotography Matrix Balanced Fill-Flash and Freeze Focus

16

Taking an action scene at night maybe one of the most difficult tasks for

a photographer. Look at this scene ofthe log-flume at night. Taking this picturewith ordinary equipment would requirepre-focusing on a spot, presetting aper-ture and shutter speed, coordinatingambient exposure settings with thenecessary flash settings, even beforeany thought of picture composition.

The solution

The latest Nikon equipment, used withits automatic control settings, can maketaking this picture not only simple, butwill also allow the photographer to ex-periment making many variations of thescene. Here's how the Nikon F-801s withits companion accessory 8peedlight, theNikon 8B-25, and the accessory NikonMF-21 Multi-Control Back, makes takingthe picture a relatively simple task.

Calculatingthe correctambientlightexposure

8et the F-801s's exposure to the ShutterPriority automatic exposure mode, andchoose shutter speed. The Matrix Meter'sfive-segment sensor will determine thecorrect aperture setting for exposurecontrol. This will allow you the optionto vary the end results, controlling anyblur effects by changing shutter speeds.Don't worry about maintaining a flashsynchronised shutter speed becausethe combination of the F-801s and the8B-25 prevents speeds higher than1/250 second, which would be out of thesync range. Your AF Nikkor lens aperturemust be set to the orange minimumsetting when using the Shutter Prioritymode. Make sure your lens has an aper-ture within the necessary exposurerange. The F-801s's viewfinder LCD willtell you if any adjustments are necessaryto get your settings within an accept-able range.

Focus

The follow-focus technique is normallydifficult for the inexperienced photogra-pher and almost impossible at night. Toovercome this limitation, we use theF-801s's electronic rangefinder systemand the Multi-Control Back's FreezeFocus setting. This combination will allowyou to preset the focus aiming the cam-era's sensor area (in the centre of theviewfinder) at the predetermined spot. Atthe moment the subject (the log flume)passes into the plane of focus, the Multi-Control Back will automatically triggerthe camera's shutter. You don't even needto be looking into the camera, or touchingit for that matter. It all happens automat-ically, with great response. There is abrief delay between the moment of focussensing and the actual triggering of theshutter, which can vary with lighting andother conditions, but there is no hand-eyecoordination to slow you down or detractfrom accuracy and consistency.

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Flash exposure

Using the F-801s's TTL flash control sys-tem and Matrix Metering with the 8B-258peedlight will obtain a Balanced Fill-Flash exposure. That means that the

• • • • • • •The challengeof night-actionphotography

• • • • • • •background's brightly lit scene will looknatural and well exposed and the flashwill brighten the foreground with the finalblast of light, capturing the action.8et the 8B-25's curtain synchronisationto REAR. This allows you to achieve fullyautomatic exposure control over theentire shutter speed range from 1/250second to 30 full seconds. Varying shut-ter speed will enable you to vary the lightstreak effect from the ambient lightexposure.

Set the 8B-25 to the TIL exposure con-trol setting, enabling the F-801s's TTLcomputer automatic system to managethe combination of ambient and flashillumination.If you're using any AF Zoom-Nikkor lens,the speedlight's zoom head will auto-matically adjust to the focal length you'veselected.Leave the 8B-25's EV compensationscale on the automatic setting, with theperson/sun symbol constantly visible.After you make your first exposure, youmay want to vary the effect by changingthe EV compensation setting on the8B-25 to a + or - amount. The ambientexposure setting will remain unchanged,but the fill-flash effect can be variedwith this setting. After you make yourselection, every other aspect is com-pletelyautomatic.

17

• • • • • • •

• • • • • • •.1kon F-801s camera settings Multi-Control Back settings:

Model MF-21JJeter selected: Matrix Metering 0Exposure mode: Shutter Priority 8;

INTERVAlou'll probably want to use a tripod to lONetlPmaintain the same composition; a F~ro,,~::Ilow shutter speed will help keep the ~·F~NCP-~~OO-@J~l~Q!D-"OJ~I

background exposure as sharp as Q2D [@ [@possible.

Drive mode: Single-frame operation 0Exposure compensation: NoneFocus mode: Manual focus; preset

using the MF-21 Multi-Control Back at 0 ~.<=m> .,"'" •••c~ c:::..)the Freeze Focus setting e

Lens aperture setting: Keep AF Nikkorlens set and locked at minimum ap-erturee

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18

Nikon SB-25 Speed light settings

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Lens selection

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AF' Zoorn-Nlkkor75-300mm f/4.5-5.6

AF' Zoom-Nikkor80-200mm f/2.8D ED

For this picture, use a moderate telephotozoom lens such as the AF Zoom- ikkor35-135mm, 70-210mm D, 80-200mm DED or 75-300mm. The zoom lens willallow you the flexibility of positioningyourself in a convenient location. ln anamusement park, a fixed focal lengthlens might restrict your coverage. Besure to use a lens hood to avoid reflec-tions from nearby lights.

iI Film selection

For this picture, we used Kodachrome 64colour slide film, but you may choose vir-tually any colour film. Be sure to choose afilm with an ISO rating which will providea wide selection of shutter speeds thatmatch the scene's lighting conditions.Check the scene's ambient lighting beforemaking your setup.

[jj]~ISO

0.60.81 1.5 2 3 4 6 9

2 3 4 5 7 10 15 203

PICTURE CREDITS:

Butterfly.Lindsay Silverman, Manager, NikonHouse, New York City

Beach scenes:Lindsay Silverman, Manager, NikonHouse, New York City

Three runners.Steven B. Heiner, Nikon ProfessionalMarkets Representative

Bird:Ronal Taniwaki, Branch Supervisor,Nikon Professional Services

Girl and neon:Sam Garcia, Nikon Professional MarketsRepresentative

Log flume.Lindsay Silverman, Manager, NikonHouse, New York City 19

-tlikon-

ikon PhotoContest International

Since 1969, Nikon's prestigiouscontest has given amateur and

professional photographers the opportunityto match skills witb fellow photographers

from around the globe.Entry [arms Gild rules ore available

from your local Nikon distributor.

Nikon®We take theoorldSgreatest pcrures=

NIKON CORPORATIONFWI BLDG., 2-3, MARUNOUCHI 3-CHOME, CHIYODA-KU, TOKYO 100, JAPANPHONE: 81-3-3214-5311 TELEX: NIKON J22601 FAX: 81-3-3201-5856 d&t-.'~'~\' -(II· ~,

~'-~' ' "7- - 1994 World GyrmHlstr( cflllluprollsMps

Printed in Japan (9308/0) Code No. 8CE10400 Official Camera