Bosch PPP6 1 Series Especificaciones descargar pdf (Pagina 4)

One strong light from

outside a window

World-renowned photojournalist Joe

McNally has some advice when taking

pictures. “The most important thing is to

ﬁrst see the picture in your mind’s eye,”

he says, “Everything comes naturally

from there, such as where to place the

camera and how to light your subject.”

While shooting high-school athletes in a

locker room, Joe envisioned a picture of

his subject in golden, late afternoon light.

To create the right environment, he posi-

tioned a camera low using a wide-angle

lens. Then, he placed one Speedlight out-

side the window, distanced far enough to

create deep shadows across the lockers.

Using a Color Filter in order to warm the

light appropriately and zooming the ﬂash

head to 200mm to concentrate the light

on the athlete, McNally recreated the

shooting situation that he’d ﬁrst con-

structed in his imagination. The picture

above looks like it was taken in the natural

light of a late afternoon, but in actuality

was shot using a Nikon Speedlight,

helping to maintain “Golden Hour”

lighting for as long as desired. With just

one Speedlight, the level of nuance to

explore is astounding.

Beautiful soft light

bounced off a wall

“Kids have their own agenda, even

while I’m shooting,” says child photog-

rapher Kathy Wolfe, “one of the key

principles of photographing children is

speed.” Wolfe has to ﬁnd quality light

fast or quickly create her own when

needed, such as when in a low-lit room

while her child models remain

cooperative. The light and remarkably

portable Nikon Speedlights are always

in her camera bag. How she works with

the Nikon Creative Lighting System

(CLS) is simple but what she gets is sig-

niﬁcant. She tilts the ﬂash head of a hot-

shoed Speedlight toward a white wall

for a bounce-ﬂash effect. This simple

act can transform harsh light into a soft,

smooth glow. Any large, white surface

can act as an impromptu light-softening

device — a simple technique that results

in richer colors like those you see here.

Wolfe almost always uses the i-TTL

ﬂash mode. That way the innovative

Creative Lighting System calculates ideal

ﬂash exposures for her automatically,

frame after frame, allowing her to

concentrate on capturing the moment.

See what just one Speedlight can do

On-camera bounce

Speedlight

SU-800

commander

TTL Remote Cord hot-shoed

with camera

The Speedlight’s ﬂash bounces off the large white wall

behind the photographer, wrapping this low-lit room

with soft light.

Use your surroundings as a light-shaping tool: a

Speedlight placed outside the window recreates

warm, late afternoon light.

Wireless remote ﬂash from the right side of the camera

erases unwanted shadows cast on the wall by the

window light from the left.

Even with a single Speedlight, countless combinations

of subtlety and nuance can be explored.

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