Bosch PPP6 1 Series Especificaciones descargar pdf (Pagina 5)

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Magnify your potential with multiple Speedlights

Secondary ﬂash from

behind for a beautiful

halo of light

“In order to capture important events as

they happen without distractions, a wed-

ding photographer must be ﬂexible and

unobtrusive.” Helpful words from Cliff

Mautner, one of the profession’s most

respected practitioners. How he uses

the Nikon Creative Lighting System is

both simple and strategically effective.

All he needed to create texture, dimen-

sion and mood in the image above was

an off-camera ﬂash ﬁred from the left

side of the frame. Wireless control and

i-TTL make it easy. To get soft light in

situations where reﬂectors or a white

ceiling are not an option, Cliff tilts the

ﬂash head 90 degrees upward — or

even backward — to “feather” the light,

softening a harsh ﬂash to ﬁt the scene

beautifully. This way he adds just the

right amount of light to show the clear

ridge of the bride’s proﬁle in the picture

above. To open up the shadows in the

bride’s veil, he introduces a second light

from behind. This is set in a different

group than the main ﬂash, which means

that he can turn it on and off fro m his

camera seamlessly, and without disturb-

ing his subject.

Small, precise lighting

around the subject to

reveal detail

“I am addicted to light. It never stops

surprising me,” says still life photographer

Yves Paternoster, “It truly is a game of

inches, changing the look and mood of

my pictures depending on where I place

it.” As a studio shooter, Paternoster likes

to take the kind of light you ﬁnd outdoors

and use it inside a studio environment,

replicating natural light by creative

use of ﬂashes. The R1C1 Close-up

Speedlight Commander Kit does this

and more. “It makes me creatively

brave,” he says, adding “Well, I feel that

it can make anyone

creatively brave.”

The SB-R200 ﬂash

units that work with

the SU-800 are small and wireless, so

photographers like Paternoster can play

around with light freely by handholding

the unit in different positions to get

exactly the effect they want. Although

he was satisﬁed with a particular

ﬂower picture taken with a single ﬂash

unit, he decided to explore different

possibilities by introducing a second

light source. What he did was simple,

but what he achieved was a powerful

new alternative shot, as you can see

above. While intuitive control is a big

advantage of the system, the ability

to control light precisely — as required

in normal studio lighting — is of great

importance. As you can see from the

picture on the right, the R1C1 plus

three additional SB-R200 units let you

illuminate exactly where you want on

very small objects. The system is like

a portable pocket-sized studio, but the

level of precision can still amaze even

seasoned studio photographers.

One remote unit is handheld by a photographer’s

assistant at an angled position, creating texture and

dimension.

Taken with one Speedlight

Playing with light: here, in addition to the small

SB-R200 above, another SB-R200 is handheld to

illuminate the ﬂowers from below.

Main light from the camera’s left illuminates the bride’s

face. A second light from behind the subject reveals

details in the veil.

© Cliff Mautner

Speedlight group A

Speedlight group B

SU-800 on-camera commander

© Cliff Mautner © Yves Paternoster

© Yves Paternoster

© Yves Paternoster

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