C.L.S.-THE FLASH REVOLUTION

By Jim VanHoose

In the “bad old days” of film photography, Nikon introduced a new kind of flash system offering multiple strobe control. It was generally referred to as “matrix balanced fill flash”. The nice thing about this system was that photographers could hook up multiple flash units which would slave themselves to the master flash. This system went a step further by allowing individual TTL adjustment of all connected slaves. The only drawback was that all units had to be connected via cables to the master. Any output adjustments had to be made at the individual flash head. There were also limitations on the number of flash units usable. For it’s time, it was state of the art. I used it on my F4 and F5 cameras with great results.

Then along came digital with its single flash only limitation. To make life even more challenging, it wasn’t even true OTF! Instead, the DX enabled flash unit would fire monitor pre flash bursts which would be read by the cameras meter. If we wanted multiple flash options, it was back to the old trusty studio flash meter and manual strobe control.

That all changed with the introduction of the D2H. This was the first in a series of Creative Lighting System (CLS) enabled cameras which now includes the D2 series as well as D-50/70/200 cameras. With CLS, we now have full control over flash like never before. Few photographers realize the incredible sophistication of this system which actually has two different components; one for standard shooting and the other for macro work.

The standard component consists of either a master flash such as the SB-800 or master control unit such as the SU-800. The master will control one or more slave flash units. The slave units can be SB-600/800, or the new R-200 macro. The number of slave units is essentially unlimited. You can also divide your slave banks into 3 different groups with 3 independently adjusted outputs. To make life even easier, you can adjust the output of all slaves without ever stepping out from behind the camera! If you use another flash like the SB-800 as master control unit, you have up to 4 separately controllable lighting sources with a +/-EV adjustment of 5 in 1/3 step increments.

The second and newly released macro component consists of the macro kit R1C1. Included in the kit is a pair of R-200 flash units, a dazzling array of adaptor rings to fit virtually any front filter mount Nikkor lens, a set of color filters for the flash head, a pair of mini soft boxes, and several other accessories. Mounted to the large flash holding ring, the R-200 units can be controlled by either SB-600/800, or the newly released SU-800 infa red controller. As with the standard flash configuration, each flash can be independently adjusted to achieve various lighting ratios. A tiny switch in the battery compartment allows us to use the SU-800 in macro or standard mode.

In practical terms we are able to shoot multiple lighting set ups quickly, efficiently, and most important, accurately while still being able to dial in adjustments for dramatic effect. Rather then go into a long winded dissertation of technical issues that can be accessed in the instruction manual or available on the web, I am just going to visually take us through 3 basic types of uses; studio style, outdoor fill, and macro explaining how each shot was accomplished.

STUDIO STYLE MADE EASY

For this example, I am using an SU-800 controlled 3 bank set up. The 3 SB-800, strobes all use some type of light modification tools. The single R-200 macro strobe is used for special effect and the single SB-600 used for background illumination. All CLS enabled strobes can be mixed and matched.

In the first shot, we have what I call a camera perfect result. (See photo A1)  Here, the D2X camera has been allowed to make all the decisions. The result is an evenly lit scene with all lighting sources perfectly balanced. This type of shot is a technicians dream. It has no hot spots; and no harsh shadows. The only problem is it is boring! This is hardly what Nikon was thinking of when they invented the “creative” lighting system. [To see any of the images in more detail, just click on them].

Here I played with the settings a little. First, I dropped bank A light down by dialing in a -1.3. I then upped bank B by +0.7 and bank C by +0.3 and added a Nikon soft 1 filter to the 17-55DX lens. Now things are getting a bit more interesting.

For this shot, I taped an R-200 (also in bank C) macro strobe to the crystal and had the model aim it directly at the camera. I dialed bank B and C back to neutral (0.0) and left bank A at -1.3. The facial illumination actually comes from the bank B soft box. To add another touch of surrealism, I used a Tiffin pro mist 5 filter to the 17-55DX (@55MM) lens.

All adjustments were made right from the SU-800 controller set in standard commander mode. The position of the strobes was never changed. All of this was performed with full wireless freedom. I was able to change camera positions and lighting ratios for a whole variety of shots easily creating different moods too numerous to show here. The light modification tools such as the soft box and umbrella are fairly inexpensive, and portable. Most importantly, the CLS strobes have the power to deliver studio looking results. There is even a provision for a 1 second strobe preview.

When people think of a photographic studio, they often think of a big loft somewhere in the Manhattan fashion district with beautiful models running around. The truth is a studio is just a room big enough to set up your scene. I know more then a few photographers who handle “studio” assignments from their garage, basement, or spare bedroom. My own “studio” work is usually performed in either my home or a hotel ball room where I usually set up a “studio” in the back of the room for formal portraits during event coverage assignments. It is in this small and mobile “studio style” setting that we can really grow to love CLS.

DAYLIGHT FILL

In this example, we are going to use the daylight fill capabilities of CLS. The set up consists of an SB-800 serving as master, 2 SB-R200 macro units serving in group C, and 2 additional SB-800 serving in group A and B. In essence, I have allowed myself 4 different lighting points to choose from. From the back panel of the master unit I now have adjustments to make in all 4 levels. The insert photos show some of the subtle differences we can give to a subject without ever leaving the camera!

There has been some discussion in the forums about the Nikon published specification vs. real world working distance when using CLS in outdoor shooting. Although the actual performance will vary depending upon many factors, I set up a little test to try and come up with some consistent numbers. I allowed direct sunlight to fall on the infrared panel of both SB and SU-800 master units. I then aimed the slave unit receiver panels to receive signals from a sideways position. This is just about the worst scenario I could think of for working distance. I still got consistent results at 15-20 feet. In overcast conditions, and aiming the sensors properly, I easily got a 30-40 foot working distance. Indoors I found the working distance to perform as published (66’ for the SU-800 in standard commander mode). This system is not designed for large scale uses such as arena or stadium coverage.

MACRO SHOOTING

The most recent addition to the CLS family is the new R1C1 macro kit. The additional flexibility of this kit just adds to the already full system of flash options. When using the SU-800 commander in macro mode, the flash adjustment procedure does change significantly. Instead of 3 fully independent flash banks, the macro mode uses a simple flash ratio slider bar similar to the Canon E-ttl system. There is a provision for a C bank but it works only in auto or manual mode. For most macro shooting though, the ratio control panel (up to 8-1) is sufficient. Personally, I prefer the standard commander mode whenever possible.

	In this series of shots, I have used one R-200 on the flash ring and one R-200 to provide rear light. I then varied the ratio from -8 to +8 favoring bank A and B respectively. Notice the changes in mood as we move from front light to rear light. As an aside, these images were made hand held using the new Micro Nikkor 105VR.

CONCLUSIONS

Throughout 2004 while camera industry pundits were busy debating Nikon’s decision to introduce the D2H with a mere 4 megapixels, CLS was hardly noticed at all; even though it was arguably the greatest revolution in flash since the strobe itself. Of course, part of this was because the D2H was aimed at the news and sports crowd who usually have little need for such things. Now that the D2X with its medium format studio capabilities is in wide circulation and the D 200 not far behind, perhaps CLS will finally be recognized for the quiet revolution it has started among those who can appreciate and use its very advanced features.    

Thanks to frequent contributor and avid photographer Jim VanHoose for this great overview of Nikon's Creative Lighting System!--David Cardinal, Editor, nikondigital.org

About Jim VanHoose : Jim started his photographic career in 1976 shortly after graduating college with a multi media communications degree. He was assisting a commercial real estate photographer in the Washington DC area until going on his own a couple years later. Jim did mostly real estate photography including brochure and magazine work as well as video productions.

Jim moved to New Mexico while working on a major marketing package for a client of located there. He later expanded to the bay area. Jim's first love is fine art photography. His commercial work is to pay the bills. Jim has shown his work in galleries in Santa Fe and Albuquerque. Currently, he uses his website for most of his promotion.

For more information on Jim and his work, go to WWW.THEMESABOYS.COM and click the WHAT WE OFFER link.

Jim is a regular contributor as user mesaboys to the forums here on nikondigital.org.