What cheap flashes can be wirelessly triggered by a Nikon SB-900?

Question

I have a Nikon SB-900 and I love it. I am looking to expand my off camera capabilities and would love to buy another flash.

The one important factor I'm looking for is the compatibility between my SB-900 and the new flash to work wirelessly. Wireless i-TTL isn't mandatory, but definitely a plus. I'm fine with setting the new flash in Manual mode.

Simply put, I want to keep the SB-900 on my Nikon D3100 and the new flash on a light stand. When I take a shot, I want both to go off, and the new flash should be triggered wirelessly. I don't want to have to buy a wireless commander since the SB-900 can do that already.

Thanks!

Asked by Jeff Lange

Answer

If you want to use i-TTL, the safest options it to go with Nikon. The cheapest Nikon flash available new would be the Nikon SB-700, or the Nikon SB-600 if you can find it used.

However, if you don't need i-TTL, you can get away with any cheap flash. For example I have a pair of YN-460 speedlights, dirt cheap compared to the Nikon flashes but can still be used as optical slaves. Combining optical slaves with using i-TTL on the SB-900 may not work however, as the slaves can be fooled by the pre-flashes used for measurements. Some flashes have a mode that is supposed to ignore these preflashes and only trigger on the "real" flash, but I can't vouche for the accuracy of these systems, YMMV.

Also note that, as an alternative to using optical slaves, you can use radio triggers. These will have to be purchased separately, and you need one unit per flash, plus one for the camera, but it will give you increased reliability and range. It will also get around the problem of the on camera flash affecting the lighting in the picture even when set to "off", as a pulse from that flash is required in order to trigger any other, i-TTL or not.

Something worth considering is that you could get 2 or even 3 flashes + radio triggers for less than what that SB-900 cost you ...

Answered by Freed

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How do I compare the output of an LED panel with that of a flash?

Question

How do I compare the output of an LED panel with that of a conventional hotshoe flash?

I haven't been paying attention to the LED panels, but they've been on the market long enough so that I'm assuming they're stable and understood.

From what I've read, most of the smaller ones are really only effective from a few feet away. The larger ones are probably more money than I'd care to spend. I'm happy with my current flash setup (Canon; two 580ex and one 430ex), and I'm trying to figure out what I'd have to get to duplicate this setup using LED continuous lighting in terms of output.

Answer

It's very difficult to compare directly to flash of any sort, since flash (speedlight or studio flash) takes the shutter speed component of the exposure out of consideration. A more useful comparison is to traditional tungsten studio lighting -- quartz/tungsten/iodide lighting rather than photofloods, since that was more-or-less the industry standard before cool lighting alternatives (HMI, fluorescent, LED) came along.

A typical studio set-up for hot light portraiture would have consisted of a 650-1000W key light (the Ianiro Red Head and Lowel DP Light are good representatives of the type), with secondary lights of various wattages for background (usually a wide-throw light, such as the Lowel Tota), hairlights, kickers and accents. That is, as you might have guessed, a hell of a lot of light, but it was what was required to get a sufficiently high shutter speed to mostly eliminate subject motion -- with a posed subject -- at an ASA of 100 or so. I'm taking about 1/30 to 1/125 with typical portraiture apertures of f/5.6-11, depending on how far the light was from the subject and the kind of modifier you may have been using.

Now, in this day and age, we don't have to worry quite so much about sticking to low ISO settings, since there are few small-format cameras (APS-C or 35mm-format) that can't turn in a respectable performance at ISO 800, and many are excellent a couple of stops faster than that. That's both at least three stops of light you don't have to pay for and three stops of light your subjects don't have to endure (and if you've ever been shot on film under hot lights, you'd really appreciate that). So something that gives a 250-watt tungsten equivalent would be adequate for use in a small studio. You won't be able to turn night into day the way you can with 20KW HMI spots, but it's certainly good enough for posed portraits and large product shots, if you're willing to forget about very fast shutter speeds. When you can move the lighting in tighter, you can go faster. But if you're working hand-held or the subject is moving, you still need a metric crapload of light to make it work since you become dependent on the shutter speed.

That said, continuous lighting and flash are very different, and only overlap in use occasionally. Continuous lighting can be a lot easier to work with for still life, product and (fully-styled) food shots, where you can afford to take forever going over all of the placement details, reflectors, gobos and flags to achieve perfection and aren't too very worried about the shutter speed. With people, it pretty much means posing. LED lighting will probably get more powerful in the next little while, but there is also a limit to what people are going to put up with in terms of brightness. You can buy an Arri HMI spot right now that will work on household power and get you a fast shutter speed, but it's like staring at the sun. If people is your game, then studio flashes would be a better step up from speedlights than continuous lighting. The modeling lights will let you see shadows and highlights well enough to direct your subject, and it's a lot more comfortable for them to sit under while you're working.

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Can any radio flash triggers be used without a sync cable?

Question

I am looking for an inexpensive wireless flash trigger system to use with my Pentax k-x and an old flash I wouldn't trust on the camera hot shoe (Vivitar 550FD) because of its high trigger voltage. I see that the CowboyStudio NPT-04 wireless trigger can connect to a camera via a sync cable, perhapts in place of or in addition to using the hot shoe contacts. My camera does not support the use of a sync cable.

Can radio flash triggers be connected using a camera's hot shoe contacts without requiring the use of a sync cable?

Answer

The CowboyStudio NPT-04 trigger connects to the camera via hotshoe or sync cable, you do not need both, just one of them. I have it and have always used it hotshoe mounted.

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What do you recommend as a first step for hands-on learning about flash?

Question

So far, I am enjoying my new Speedlight (Nikon SB-700), but any good results I have gotten have been mostly luck. I'd really like to understand how to use it so that I can make intentional technical decisions (as opposed to relying entirely on accidents and tweaking).

Assuming that I have a decent understanding of ISO / Aperture / Shutter in non-flash photography, what would you recommend as a very first, hands-on step to systematically explore how to use my setup in flash photography?

I am perfectly willing to take 200 consecutive photos of the same object if you think it is instructive to do so.

(As part of the answer, I'm also looking for settings: TTL vs Manual vs Distance Priority? Manual exposure mode vs Aperture- / Shutter-priority? Center-weighted vs spot metering vs matrix? Slow/rear/no curtain sync?)

Answer

Easy. Strobist website Lighting 101

For specifics to Nkon CLS - Nikon CLS Practical Guide

For systematic assessment of ambient vs flash and other things, Neil van Niekerk's books On Camera Flash and Off Camera Flash

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Recommendations for Wireless Flash Triggers?

Question

Currently my AB800's have a built-in optical trigger, but still requires a flash to trigger them. I'd like to move to an all wireless setup. I also have the canon ST-E2 to pair with my Sigma 500 DG Super and Canon 580 EX II.

I'd like to use a wireless trigger system that will work with both my Alien Bee's and my Speedlites.

Money isn't necessarily an issue, assuming the triggers do what I need them to do.

Answer

My apologies for linking to Strobist all the time, but as it happens there is a recent post just about that. He lists PocketWizard Plus II Transceiver as the best and most reliable, followed by RadioPopper JrX, AlienBees CyberSyncs, and Elinchrom Skyports.

You also might want to check out RadioPopper PX, which looks like it might be able to trigger slave units for your Speedlites and AlientBees at the same time.

Check more discussion of this question.

How does commander mode on a Nikon camera body differ from commander mode a on SB-700 Speedlight?

Question

My Nikon D80 and new Nikon SB-700 both offer Commander mode. I have two questions:

• When NOT in wireless mode (that is, when the flash is plugged into the hot shoe either directly or with a cable), is there any difference using commander mode on the body vs the off-camera flash?
• When IN wireless mode, I am able to use both the pop-up flash and the SB-700 at the same time. Is there a difference here?
• Does one take precedence over the other if I set both to commander mode?

Answer

The most significant difference is that the SB-700 can control flashes that are further away (it has more power and a zoom head) and can be swiveled towards a flash that is at your side. By turning the flash head you can also make sure not to spill controller signal on the scene. Of course, when you have several slave flashes at both sides of camera, you can't use the advantages of swiveling head.

When using the pop-up flash for controller, your SB-700 is free for using as a slave.

Cameras usually disable pop-up flash when there's a flash on hot shoe, so you can't use them both as commanders; is your camera different in this respect?

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Is there a simple flash bracket which holds a flash securely?

Question

The flash bracket / umbrella swivel I'm using works just fine, but I'm a little nervous about the way the flash attaches. It's held in place by a combination of friction from screw on the side of the flash bracket itself plus friction from screwing down the wheel on my flash's shoe/foot mount.

_{CowboyStudio Flash Shoe Holder Light Stand Mount}

Since the bracket is metal and my flash is the older Metz 48 AF-1 design, with plastic foot, I feel a bit nervous about clamping too tightly. But if I don't, it seems like there's a risk of the flash just sliding right out either the front or back, especially if the bracket gets tilted.

Is there a better little cold-shoe product that's less scary? I'm not aware of anything which has the Pentax-specific locking pin slot (except this which is out for price), which would be a little comfort, but that's not necessarily the right approach either. It seems like there ought to be something where there's a secure latch on the front and back, so once mounted the flash can't go anywhere (but which could still be easily undone). I can't find it, though. This accessory shoe at least has the front blocked, which might be an improvement, but on the other hand it lacks the side friction screw.

Does what I'm looking for exist? (Ideally for under $20, shipped. I know geegaws like this end up being outrageously priced.)

Answer

Sheesh — how to find something I'm looking for: write up the question carefully on Stack Exchange, at which point the keywords to search for will be more clear in my mind, and i can quickly Google up the answer myself:

Frio Universal Cold Shoe Adapter. Looks exactly designed for what I need, and at $15 + $4 shipping it just squeaks under my price limit, too.

---

So I ordered one; here's the report!

Description

It's a little rectangular piece of relatively tough plastic, with a cold-shoe "pocket" near the front and a flexible clip to hold the flash in place. Underneath, there's a securely-attached metal socked, threaded for a standard 1/4" tripod screw.

Function

It works; my Metz flash snaps easily into place and is held there securely. Until I tighten the wheel on the flash shoe itself, it wobbles from side to side a bit but there's clearly no risk of the flash going anywhere. Once the wheel is tightened, it's steady.

The clip to release the flash is molded from the same piece of plastic; it flexes down or up to provide the locking. I didn't have any difficulty or frustration working it — in fact, it's easier and faster than the screw mechanism of my existing cold metal shoe. The clip seems secure and it does appear to be high quality plastic, but if you take your flash on and off the clip dozens of times a day, it may wear out.

The other thing worth mentioning is that since the screw doesn't go entirely through the clip, you may want a nut to tighten underneath the clip. It holds well enough without but that would feel even more secure and make it easier to fix the clip do it definitively faces one direction even if bumped.

Value

It's a little pricey for what it is, but that's typical for niche products for little companies. And when compared to the generally high prices for this kind of photo equipment in general, it actually seems within the realm of reason. Given that it seems to do its job so well, I'd say it's worth it for the ease of use and the security for my flash. You can get it with free shipping from Amazon, or get the triple-pack directly for $40 including shipping — get one for multiple light stands, or split with a friend.

Conclusion

Yep, this answers my question. I hope this or similar clips become standard, but until then, this'll do.

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How can I think logically about getting correct exposure with flash?

Question

I recently got a new off-camera flash (Nikon SB-700), and I'm having trouble thinking about the variables that go into proper exposure.

For example, without flash, I have a little mental decision tree that went something like this:

• If shooting very long exposure then use manual mode with camera on tripod. Choose aperture to suit desired DOF and/or choose shutter speed to suit desired exposure time. Try to use ISO 640 or lower. Do not use exposure compensation (because in manual mode it's pointless).
• Else if shooting fast moving subject, use shutter priority and ISO auto. Tweak exposure compensation to prevent blown highlights or blocked out shadows.
• Else use aperture priority, and choose suitable DOF. Make sure that shutter speed is no slower than 1 / focal length. Compensate for slow shutter speeds by 1) Raising the ISO, or 2) Using a tripod, or 3) Bracing the camera or yourself against something. Tweak exposure compensation to prevent blown highlights or blocked out shadows.

For an amateur like me, the above algorithm covers just about everything I do. I could probably even make a flowchart out of it.

Now that I am trying to learn about flash photography, things are suddenly very, very complex, and I feel lost.

My question is: Is there a similar mental flowchart or algorithm that can I use as a guide for flash?

Answer

For me, the workflow with a single off-camera flash goes something like this:

• Attach gel and/or modifier to flash according to ambient light and desired effect.
• Place the flash where I want it to be - taking into account desired angle, whether I want the flash to be out of frame or behind something, reach, desired apparent size of light source (bigger near subject - gives softer light), desired light falloff (faster near subject).
• Choose aperture and ISO so I would get desired DOF and background exposure level (often underexposed to add impact for the subject) with shutter time no faster than sync speed.
• Turn on/enable the flash.
• Am I in hurry? If yes, set flash to TTL exposure metering and camera to manual or aperture priority mode; if not, use both in manual mode.
• Is the subject moving? If yes, decide if rear curtain sync should be used.

• With manual flash: guesstimate or calculate approximate power level needed, set it.

  Formula for calculating needed power level:

  (distance ⁄ GN)² × (100 ⁄ ISO) × f-stop
  

  The distance should be metered between flash and subject in units used for guide number (could be either meters or feet).

  For example, at 35mm zoom your SB-700 has GN 31.5 on a DX body; with subject 3 meters away from flash, ISO 200 and aperture at f/2.8, you'll need power level

  (3 ⁄ 31.5)² × (100 ⁄ 200) × 2.8 ≈ 1/110 × 1/2 × 2.8 ≈ 1/79
  

  which is quite close to 1/64.

• Take test shots and adjust flash position and power level/compensation to get desired exposure and effect (might skip this step with TTL in hurry).
• Take the shot.

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Why are there multiple contradictory ways to control flash ratio?

Question

I am reading the following introduction to flash photography:

http://www.cambridgeincolour.com/tutorials/camera-flash-2.htm

In this article, I came across two seemingly contradictory statements:

The "flash ratio" is an important way to describe the mix between ambient light and light from your flash. ...[T]he mix of flash and ambient light is adjusted using only two camera settings: (i) the length of the exposure and (ii) the flash intensity.

But the article also says:

The key to changing the flash ratio is using the right combination of flash exposure compensation (FEC) and ordinary exposure compensation (EC).

Don't these two statements say different things? Is the choice dictated by personal preference? Or do they mean the same thing?

---

EDIT: I just came across yet another suggestion to change the ISO instead (http://www.scribd.com/doc/60727727/42/If-You-Can%E2%80%99t-Find-the-Light-Create-the-Light):

See if you have a good blend. If the background is too dark, try moving up to the next level of ISO. Too bright a background? Lower the ISO.

This is really confusing for beginners like me!

Answer

They both say the same thing, though in a different order. You control the length of the exposure using ordinary exposure compensation (assuming you are in Aperture Priority mode), and you control the intensity of the flash using flash exposure compensation.

Essentially they have described the general terms in the first part, and the specific settings in the second.

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How are power levels automatically determined when using multiple speedlights with CLS?

Question

If I take a picture with an on-camera flash, or a single speedlight, my understanding is that the camera/flash pre-fire and then automatically select the approrpriate power level to properly expose the shot.

When you use two (or more) speedlights in a system (like CLS for instance), how do they automatically determine how much power each should use?

I can imagine plenty of cases where you would want one to be stronger than the other, would you have to set the power levels manually then?

I don't have any experience (yet) with off-camera flash, so I apologize if this is a stupid question, or if I have misunderstood how something like CLS is supposed to work.

Answer

In CLS, you organize your flashes into up to three groups (A, B and C; this is not the same thing as control channel). Each group is treated like a single flash. For groups set up to operate in TTL mode, during preflash, each group is metered separately (by camera, or by master flash in non-TTL auto mode), required power level is determined and during exposure each group is fired separately. You can mix up groups firing in TTL and groups firing in manual power.

On master flash, you can choose manual power setting or compensation level for each group and compensation level for the whole setup.

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Is camera flash actually harmful to infants or newborns?

Question

I just got a new off-camera flash, and the instruction manual says:

Never fire the flash unit closer than 1 meter from infants.

This was a little startling to me, since one of the main reasons I bought the flash was to take photos of my newborn son.

On the other hand, knowledgeable sources on the internet seem to say otherwise:

http://www.medhelp.org/posts/Eye-Care/infant-flash-photo/show/432284

Q: What long/short term risks are there to using camera flash in photographing a 2-month old?

A: None, shoot away. -- John C Hagan III, MD, FACS, FAAO

http://carefirst.staywellsolutionsonline.com/Library/AsktheExpert/Children/72,ATD011008

Q: Can a camera flash harm an infant's eyes?

A: No, it cannot. Actually infants have more protection from a flash than adults since they are usually not interested in being photographed and do not look right at the camera. Also, they typically have smaller pupils. This means less light reaches the retinas. -- Don Bienfang, M.D.

http://www.intelihealth.com/IH/ihtIH?d=dmtATD&c=367698&p=

Q: Can a camera flash harm an infant's vision?

A: The flash of a camera, even if used to take many, many pictures of your newest family member, should not harm an infant's vision. Although the flash seems very bright, it actually isn't much different from normal daylight. -- Leann M. Lesperance, M.D., Ph.D.

So what's going on here? Are the makers of the flash just avoiding a lawsuit? Is this a myth? Or are the doctors just thinking about little on-camera flashes and neglecting to think about more powerful flashes?

(And if it's NOT a myth, can I assume that bounce flash is acceptable?)

Answer

I think you've answered the question yourself pretty well, with citations and everything. There's little real risk, and the flash manufacturers are erring on the side of caution in order to protect themselves from litigation.

That said, I don't think being flashed right in the eyes with a bright flash is very nice, especially from up close. And I'm not even a baby. Bounce flash is the way to go for this and for a number of other reasons as well.

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To take my portrait photography to the next level, should I get a second flashgun or a monolight?

Question

I am a hobbyist and using a Canon 600D with 50mm f/1.8 and 18-135mm lenses.

I bought 430EX-II flashgun, and it works great as off-camera flash with the 600D's built in transmitter. I also have a flash-modifiers kit from eBay.

Things are working great, but I want to take my portrait photography to next level. I am thinking to add a second light source along with the umbrella setup.

Am I on the right track? Should I go for a second flashgun or go for a monolight (or monolights)? What you suggest, and why?

Answer

Either way you're getting more lights, so you'll be adding some additional tools to sculpt your light either way.

So what to get depends on how you want to use it.

I say get the monolight(s) if:

1. You want or need more power
2. You want or need faster recycle times
3. The important one: you have consistent and easy access to power outlets (like, you're always in a studio)

Get the second battery-powered strobe if you won't consistently have access to a power outlet for the monolight (like, you're shooting on location with no access to an outlet) and you can live with the lower power, reliance on batteries, and longer recycle times.

Strobist has many articles on what to consider if you're stepping up to big lights and specifically has a lengthy look at doing it (relatively) cheaply with the AlienBees line of lights if you want some additional reading.

Check more discussion of this question.

To take my portrait photography to the next level, should I get a second flashgun or a monolight?

Question

I am a hobbyist and using a Canon 600D with 50mm f/1.8 and 18-135mm lenses.

I bought 430EX-II flashgun, and it works great as off-camera flash with the 600D's built in transmitter. I also have a flash-modifiers kit from eBay.

Things are working great, but I want to take my portrait photography to next level. I am thinking to add a second light source along with the umbrella setup.

Am I on the right track? Should I go for a second flashgun or go for a monolight (or monolights)? What you suggest, and why?

Answer

Either way you're getting more lights, so you'll be adding some additional tools to sculpt your light either way.

So what to get depends on how you want to use it.

I say get the monolight(s) if:

1. You want or need more power
2. You want or need faster recycle times
3. The important one: you have consistent and easy access to power outlets (like, you're always in a studio)

Get the second battery-powered strobe if you won't consistently have access to a power outlet for the monolight (like, you're shooting on location with no access to an outlet) and you can live with the lower power, reliance on batteries, and longer recycle times.

Strobist has many articles on what to consider if you're stepping up to big lights and specifically has a lengthy look at doing it (relatively) cheaply with the AlienBees line of lights if you want some additional reading.

Check more discussion of this question.

Can I use the on-camera flash along with an off-camera SB-700 on my Nikon D5000?

Question

I recently bought an SB-700 flash for my D5000 and I was wondering what would be my options to use this as an off-camera flash along with the on-camera flash.

Is it possible? TTL cable, wireless transmitter, whatever...

Answer

Yes, using the on-camera-flash in manual power setting and the SB-700 in SU-4 optical slave mode.

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Are there any radio flash triggers capable of P-TTL?

Question

All the popular radio TTL flash triggers, like PocketWizard or RadioPopper, seem to be only available in Nikon and Canon flavors. Are there any models capable of transmitting Pentax P-TTL data?

Answer

So, having looked for some for a while, I'm going to have to sadly put forth "No" as the answer here. The TTL features of the radio triggers are relatively new, and their makers have (reasonably enough from a business point of view) gone with the market dominators first.

Hopefully, they keep hearing enough from Pentax users that they'll consider the smaller niche worth investing in eventually.

Personally, I keep holding out hope that Pentax (and now Ricoh) will simply include radio triggering as a basic feature built into an update of their flash system — but that's pretty much just a fantasy at this point.

Check more discussion of this question.

How should I set up a flash bracket for Pentax?

Question

I have a Pentax K-r and a Metz mecablitz 50 AF-1 digital flash unit, and I've been having problems with red-eye. As a result, I'm considering getting a flash bracket.

I am aware that I can simply buy the bracket itself (and the required cold shoe part or Pentax Off-Camera Shoe Adapter F), and use the pop-up flash as a master or controller in a wireless P-TTL setup. However, I am aware that I will lose aperture, ISO, and focal length communication (required for auto zoom) with the flash as well as high-speed sync and possibly rear-curtain sync. The flash should still be able to sync correctly and the camera should be able to meter properly. (I've done off-camera flash before, but I don't like Strobist.) Under what circumstances would this be acceptable?

I am aware that are certain Pentax accessories that appears to allow P-TTL communication with the camera and enable full functionality. If I get the following accessories:

• Pentax Hot Shoe Adapter F
• Pentax Off-Camera Shoe Adapter F
• Pentax Short Extension Cord F5P

will I indeed get full P-TTL functionality, with aperture and ISO communication as well as high-speed sync and rear-curtain sync? Will the flash be able to zoom automatically with these parts? If so, is this worth the extra money? How useful is this extra functionality?

Answer

I haven't used those accessories, but that's exactly what they seem to be designed for.

Avoiding direct light on optical axis in favor of bounced or further off-camera flash (triggered optically or with the longer cord, haven't yet seen any P-TTL capable radio triggers) might give you more pleasing results. For these cases, you'll probably want to take manual control over flash zoom. Unfortunately Metz flashes are quite stubborn to turn the Auto Zoom back on after a while.

But, as you say in your comments, bouncing is not always feasible and setting up off-camera flash or using red eye reduction takes too much time for live action. In such situations, I have simulated the telescoping bracket by shooting with one hand and holding the flash out in left hand, but it's too easy to tilt camera this way, so having the bracket seems tempting.

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What are the effects of umbrella size?

Question

I keep seeing shoot thru an reflecting umbrellas in sizes around 33", 36", 42" and even larger. Many of the kits (stand, clamp, umbrella) I see around have the smaller size umbrellas. Strobist.com also suggests a 42".

What differences could I expect between the different size umbrellas and how might their usage / flexibility compare? Would I expect more light fall off with a larger umbrella?

Answer

Are you planning to shoot indoors or outdoors? Umbrellas are difficult to use outdoors as they act like a sail and it only takes a slight breeze to send your umbrella - and flashgun crashing down. You either need a serious stand weighted down, or someone holding the umbrella. Even so I'd go with the smaller size for shooting outdoor.

A larger umbrella gives a softer light - at the same distance. However it's a apparent size of the lightsource as seen from the subject that defines the softness/hardness (hence the character of the light). e.g. the sun and moon have the same apparent size, viewed from the Earth. The sun is much bigger, but at the same time further away.

Therefore a 33" umbrella at a distance of 2 meters should act very similar to a 42" umbrella at 2.5 meters. However:

• You will receive less light from the further away brolly (i.e. bigger brollies need more powerful flashes in general). Likewise you need a bigger stand etc.

• Having the light further away makes it easier to control flare (by ensuring the lightsource is not in frame) and gives the subject more room to move.

• A further away lightsource gives more even lighting. Again taking the sun as an example the near and far sides of a 1 meter object are effectively at the same distance from the sun and receive the same amount of light. However if you place a lightsource 1m from the object then the far side is double the distance from the near side and receives 1/4 the light.

Finally, the difference between 33" and 42" is not that great, and 42" isn't that big in the scheme of things, so unless I was putting together a kit that was designed to be ultra mobile I'd go for the 42".

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What do I need to trigger a remote flash with a Nikon D3100?

Question

I'd like to get into doing some remote lighting, but really don't get the best way to do it.

I've got a Nikon D3100, so no "commander mode" with the built-in flash. My current external flash is a SB-600.

Answer

You've got a few options:

• You could use a few universal translators and do it wired.
• You could use a cheap radio trigger (I personally use the Cowboy Strobist with the D3100 and SB-600).
• You could use the highly reputed classic Pocket Wizard
• Or if you want wireless TTL, you could look at MiniTT Pocket Wizards
• You can use the SU-4 Nikon remote to make any body a Nikon CLS commander (but this is line of sight then).
• You could use optical slave triggers and trigger with the onboard flash (but this is line of sight then).

I've had good, reliable luck with the cheap Cowboy Strobist radio triggers and think they're a great way to get started.

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Can I combine my Canon camera with my Nikon flash?

Question

I have a Canon 60D camera and a SB-600 flash for Nikon. Can I use this flash wirelessly with my camera? I had Nikon camera before which I replaced with Canon and I haven't purchased a flash yet, so this is my only option so far. It would be cool if it worked. I don't care for automatic features (like TTL, etc), I can use the flash in full manual mode, I just need the camera to fire it when taking the photo.

Answer

Yes, but only with extra gear like radio triggers or an external optical slave. The built-in slave can only operate in Nikon's CLS mode.

Check more discussion of this question.

Why is the D7000 commander mode flash firing during exposure when the manual says it won't?

Question

I'm wondering if I'm using the D7000's Commander mode incorrectly. Page 225 of the Nikon D7000 manual says

The built-in flash does not fire [in "--" Option], although remote flash units do.

Yet what I've found is that the built-in flash in fact does fire, adding ugly on-camera, direct flash to my photos especially for short-distance subjects. I present Exhibit A below, where it is seen that both the remote SB900's and the on-camera's flash are captured, even in "--" Commander option. How do I fix this?

Answer

They lie.

It does, it just not supposed to fire enough to matter. The flash is how it communicates with external units.

You can get an SG-31R unit to block it and let the IR only through.

Your other option is to ditch CLS and go with radio triggers - of which, if you search, we have various questions about.

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