So now let's talk about actually setting up the master flash to do the communication so to do this I'm going to start with an s b nine ten all right and the camera body I have here today I have an older d eight hundred and the reason why we're using the d eight hundred is that forgot the cable for one other cameras so it doesn't tether and then my d five hundred which is brand spanking new adobe doesn't have the software yet to tether on the brand new camera so we're tethering with this older camera today I'm gonna grab my sb nine ten and now we're going to set it up to be a master flash okay, so I turned the camera on that's the first step silly as it sounds, people make this mistake all the time they leave the camera off and they start to try to configure the flash and the like how come I can't find you know the settings and the groups and the channels will the camera has to be on so camera on and then I turn the switch here to the word master all right, so now I'm in master mode so ...
I just wantto keep referencing what cameron using I'm using you what I'll call a legacy camera and a legacy flash so this is the old school optically triggered stuff okay, so here we go hit the mode button I'm sorry I hit the function buttons here I hit select and what that does is it pops me down through the screen and allows me to select which groups I want to modify so m thean group what's the m flash this one it's the master flash and actually I can have the master flash participate in the exposure or not to participate generally you don't want the master flash to participate because you did these really nice studio lights right and so you don't want this thing impacting the scene so I set the master flash for dash dash dash and that means off next we go down to a well what's the a group will call this this one here is the a group that's a remote flash I now pushed the the the mode button and now I can change that from t t l auto aperture to manual so all those things that were talking earlier today we can modify or we can even set it for dash dash dash for here today though we're going to set it for t t o great I hate select again and again I can get kind of go through all those things I hit okay to set them and then I push this button which says ch sense for channel so pushed channel and now I can modify the channel one two three or four well we already agreed I get channel one today all right so I choose channel one already so that's typically what you'll find a most of the nikon legacy flashes that change it's a slightly different for the nine hundred is slightly different for the seven hundred the next one that I quickly want to show you is the sb eight hundred well you know what I realized I can't because it just died so I'll talk through it so the s p eight hundred you have to push the a memory yeah you have to push the select button and hold it in for a couple of seconds at which point up will come this little menu here and you're looking for the menu box that has little squiggly arrows these little two arrows little left squiggly air on little right squiggly arrow you go into that squiggly arrow box and then you choose master at which point then the same basic screen comes up that we just saw and then you can configure the s p eight hundred to be a master all right so that's when I want to show is how to set up the s p five thousand so to do that I'm gonna grab my d five hundred camera and the s p five thousand flash so give me one second so we're going to talk a lot more about the d five hundred and the s p five thousand today you'll notice some I d five hundred I actually have the remote system right here this is the w w r tenn yeah the w r eighteen and w r tenn anyways I'll talk about that in some detail a little bit we don't need that if you're just doing optically triggered stuff if you're doing radio trigger stuff then you need it so right now I'm just going to show the optically triggered approach so here's the sb five thousand hold really steady here safely and turn on the backlight all right I push this little button this one here changes between optically triggered versus radio triggered okay so that button I'm going to go to the optically triggered one and someone with a little lightning bolt the radio trigger is the one that has like a little speaker symbol on there and that I know that's going to be very helpful for you people who have this flash because when I first got the flash I didn't actually understand what the little icons meant so look for the little lightning bolt ok so now I can go in and I can set the m group I can set the a group in the b group in the c group just like that groups you make sure I'm doing this correctly sorry guys information so you pushed the information button and then we go down to channel I push okay information channel I go to the right and then modified the channel right here channel one two three and four and then hit the information button again I go down to group and then I can change that between you know the mode and of course the power so now I'm in channel one group a and I'm a t t l and this remote flash over here is also listening on channel one group a think it's powered on yep so if I hit go it fires the flash in the remote set up and we'll talk remote setups in just a little bit okay so the s p five thousand the d five hundred again the the operation is a little bit different especially for your coming from a legacy flash system from the older espy nine tens and seven hundred just takes a little bit more getting used to and we're going to practice this multiple multiple times in the afternoon
Mike Hagen is a professional photographer, author, and workshop leader. He's taught hundreds of workshops and thousands of students over the years on just about all photo topics including camera gear, studio lighting, Photoshop®, Lightroom®, landscape, travel, and digital workflow.
This class is an excellent primer on Nikon's Creative Lighting System. Mike does an excellent job simplifying what can seem like a complicated system. I enjoyed it and saved it to watch again as a refresher.
So, here's the deal. If you can't get to a Mike Hagan course in person this is the best next thing. I have know Mike for 6 years and he never disappoints. I took this course through Nikonians about four years ago and found this to be not only a great review but a significant update from what I l learned in the previous class. Mike is one who never rests on his laurels and as a teacher he is constantly updating and improving his work. Speed lights are so much more complex then most people understand and Mike use his knowledge to take that complexity and reduce it to a set of clear and understandable methods. So glad to see that Creative Live has included him in their line up of instructors.
Mike is a great easy to follow instructor who you can tell knows his subject. Thank you. A great course that I would recommend to anyone with Nikon gear.