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21 Sep 08 Nikon’s New R1C1 and R1 Wireless Speedlight Systems Bring Simplicity and Automation to Close-Up Flash Photographry

Latest Additions to ’s i-TTL Wireless Creative Lighting System Simplify Lighting for Close-Up and Prove Versatile for Much More

MELVILLE, NY, NOVEMBER 1, 2005 – Inc. (www..com) today introduced two new Wireless Close-Up Speedlight Systems – the R1C1 and the R1 – both designed to seamlessly fit within ’s i-TTL Wireless Creative Lighting System. Comprised of the SU-800 Wireless Speedlight Commander, two SB-R200 Wireless Remote Speedlights and a host of useful accessories and mounting adapters all neatly packaged in one complete kit, the R1C1 offers using i-TTL capable SLRs, including D2X™, D2hs™, D2H™ and F6™ a compelling new way to get outstanding results with their close-up while bringing an amazing level of simplicity and automation to the lighting process. The R1 shares all of the components of the R1C1 with the exception of the SU-800 Wireless Speedlight Commander. The R1 is designed to take advantage of i-TTL cameras that feature a Wireless Commander built into the camera’s on-board Speedlight system, such as the D70™, D70s™ and the newly announced D200™.

The R1C1 and the R1 systems greatly enhance the versatility of ’s Creative Lighting System, currently consisting of the SB-800 and SB-600 Speedlights. They offer a myriad of choices and options in creating customized lighting solutions, ranging from a compact, portable lighting set-up for close-up to more elaborate lighting arrangements using several i-TTL enabled speedlights. Regardless of the complexity of the lighting arrangements, ’s i-TTL technology promises an astounding level of simplicity in achieving the desired lighting effects and accurate exposures. can shed all cords and cables and the need to calculate and distance ratios, because, when used with a compatible camera, i-TTL technology is capable of making all exposure calculations in real time, wirelessly, during the exposure to deliver consistently accurate exposures in virtually any situation.

Packaged as complete systems, the R1C1 and the R1 Wireless Close-Up Speedlight Systems are designed to produce automated creative close-up lighting solutions without any clutter or hassle of connecting cables. The system outfits come in a sturdy and fitted system case that includes all the accessories and adapters a may need to begin capturing beautifully illuminated immediately.

The R1C1 consists of two SB-R200 Wireless Remote Speedlights, the SU-800 Wireless Speedlight Commander, and an SX-1 Attachment Ring that is used to attach the two SB-R200s to the front of the lens. Additionally, the outfit contains a comprehensive assortment of accessories to help users master and enjoy close-up , including the SW-11 Extreme Close-Up Positioning Adapter, SJ-R200 Color Filter Set, SW-12 Set Diffuser, SW-C1 Flexible Arm Clip and a set of five adapter rings to ensure the SX-1 Attachment Ring can be mounted on virtually any Nikkor® designed for close range .

For who want to use an SB-800 or the built-in Speedlight of D200, D70s and D70 cameras as a commander, the R1 Wireless Close-Up Speedlight System, which comes without the SU-800, is ideal.

Components of the R1C1 and R1 Wireless Close-Up Speedlight Systems are also available individually, offering versatility and creative control. The SB-R200 Speedlight is a highly capable lighting tool with a guide number of 14/46 (, m/ft.). In addition to attaching it to the front of the lens for close-up purposes, can also hold it in their hand while shooting for off-camera directional lighting, or freely position it by using the AS-20 Speedlight Stands, supplied with both the R1C1 and R1 systems. The SU-800 Wireless Speedlight Commander, also available individually, adds versatility to the Creative Lighting System by providing wireless output level controls for the SB-800, SB-600 or new SB-R200 remote Speedlight units when mounted on that are compatible with ’s Creative Lighting System. These include the D2X, D2hs, D2H, D200, D70s, D70 and D50™ cameras, as well as the F6 .

The R1C1 and R1 Wireless Close-Up Speedlight Systems will be available in December 2005 for an estimated selling price of $680.00* and $430.00* respectively. The SU-800 Wireless Speedlight Commander and SB-R200 Wireless Remote Speedlights will also be available individually in December 2005 for an estimated selling price of $265.00* and $155.00* respectively. For more information about ’s Creative Lighting System and ’s Speedlights, please visit www..com.

Contents of R1C1 & R1 Wireless Close-Up Speedlight Systems

• Two Wireless Close-Up Speedlight System configurations are available: Wireless • Close-Up Speedlight System R1C1 and Wireless Close-Up Speedlight System R1 (identical to R1C1 but SU-800 is not included). The system includes:
• SU-800 Wireless Speedlight Commander: (not included in the R1 outfit). Includes the SS-SU800 Soft Case
• SB-R200 Wireless Remote Speedlight (2): Includes (2) AS-20 Speedlight stand, (2)
• SS-R200 Soft Case, (2) SJ-R200 Filter Set, and (2) SZ-1 Color Filter Holder
• SX-1 Attachment Ring: Enables SB-R200(s) to be attached to the front of the lens.
• Accepts up to eight SB-R200 Speedlights (maximum four when attached to camera or up to eight off-camera)
• SG-3IR IR Panel for Built-in : Prevents pre- light from built-in Speedlight (D200, D70s or D70) from influencing exposures in extreme close-up situations
• Adapter Ring Set: Enables SX-1 to be attached to with filter attachment sizes of ø52mm, ø62mm, ø67mm, ø72mm, and ø77mm
• SW-11 Extreme Close-Up Positioning Adapter (2): Angles the SB-R200’s light toward the optical axis to create lighting effects when taking extreme close-up shots
• SW-12 Translucent Diffuser Panel: Provides the ability to bounce and/or soften light
• SW-C1 Flexible Arm Clip: Used to mount SW-12 Diffuser to the SX-1 Attachment Ring.
• Clamp design allows mounting to other objects, adding flexibility
• SS-MS1 Close-up Speedlight Outfit Case: Houses complete System and included accessories plus space for an additional SB-R200 Speedlight
• SB-R200 Wireless Remote Speedlight: Major Features
• Supports the Creative Lighting System
• Functions only as a remote Speedlight unit
• Supports i-TTL (for automatic balanced Fill-), D-TTL, TTL, Manual
• Accurate i-TTL control achieved through exposure monitoring control
• Guide Number of 10/33 [ISO100, m/ft], 14/46 [ISO200, m/ft]
• Advanced Wireless Lighting available
• Auto FP High-Speed Sync; use with fast achieves effective blurring of out-of-focus background elements
• FV lock holds value, enabling recomposition prior to shooting
• AS-20 Speedlight stand (supplied)
• SS-R200 Soft Case (supplied)
• SJ-R200 Color Filter Set (supplied)
• SZ-1Color Filter Holder (supplied)
Note: The SB-R200 cannot be attached to the camera’s accessory shoe.

SU-800 Wireless Speedlight Commander: Major Features
• When using i-TTL compatible and Speedlights, user can divide the Speedlight units into three groups and control the output independently for each group
• Features a Commander function that can trigger wireless remote (SB-800, SB-600, or SB-R200) units without a master unit
• One-touch switching between close-up and Commander modes
• Easy-to-use close-up operations. Two types of operations: Dual-light close-up and Triple-light close-up
• Easy-to-view LCD panel
• Compact and lightweight
• SS-SU800 Soft Case (supplied)
• When using the SU-800 with cameras not compatible with i-TTL control, only close-up operation (using cords) is possible in use with the optional SC-30 TTL Cord.

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21 Sep 08 Nikon Brings State-of-the-Art to Mid-Range with New SB-600 Speedlight

New SB-600 Expands ’s Creative Lighting System Featuring i-TTL; Offers Versatile Wireless Functions With SB-800 & D70 Built-in Speedlight

MELVILLE, NY, JANUARY 28, 2005 - ® (www.nikondigitalusa.com), the world leader in , today introduced the versatile new SB-600™ Speedlight, the latest addition to ’s Creative Lighting System. Featuring ’s next generation i-TTL™ control technology, the SB-600 delivers automatic balance fill- and advanced wireless lighting for outstanding results and creative possibilities. The SB-600 is seamlessly compatible with the newly announced D70 camera’s built-in speedlight as well as the D2H professional . The SB-600 effectively integrates with the recently announced SB-800 Speedlight, both individually and in arrangements of multiple SB-600/800 speedlights, offering consistent i-TTL control for automatic and accurate lighting for creative and complex situations.

Designed for a variety of customers ranging from experienced and amateur to beginning enthusiasts, the SB-600 incorporates a host of new features designed to make simple, accurate and creative. As part of the newly evolving Creative Lighting System, the SB-600 includes support for Advanced wireless TTL operation, and can function as a remote when controlled by the SB-800 Speedlight or the D70 camera’s built-in speedlight set to Commander Mode. Additionally, the SB-600’s Auto FP High Speed Sync Mode allows it to fire at as high as 1/8000 second when used with the D2H professional camera. Other major features include Value (FV) Lock, color information, wide area AF illuminator and built-in modeling .

“When developing the Creative Lighting System, ’s goal was to deliver a powerful lighting system that was easy to use, offered tremendous creative control without being overly complicated and integrated the advantages of to make more accurate than ever before. With the introduction of the SB-600, is realizing that goal,” said Richard LoPinto, vice president for systems at , Inc.

“’s i-TTL technology is the backbone of the Creative Lighting System, and the SB-600 inherits this inventive technology. Together with the recently introduced SB-800 Speedlight, and the D70’s built-in speedlight set to Commander Mode, the SB-600 will unleash tremendous creativity and excitement among all kinds of ,” he added.

SB-600: Continuing Advanced Wireless Lighting

The SB-600 speedlight features wireless TTL technology first introduced in ’s SB-800 Speedlight. using the SB-800 as the Controller can employ up to three groups of compatible Speedlights, with any quantity of compatible SB-600 and SB-800 speedlights within each of the three groups, to achieve Advanced Wireless i-TTL . Most major functions of the

SB-600 can be controlled remotely by the master SB-800. using the D70 camera’s built-in speedlight as the Commander Speedlight can employ any number SB-600 speedlights within one group for wireless i-TTL operation. The SB-600 can be remotely controlled either in i-TTL mode or for maximum creativity. Used with the D2H, the SB-600 can employ up to four individual frequency channels, and three groups of units.
The selection of channel settings help avoid inadvertently triggering flashes not being used by them. Used with ’s D70 camera’s built-in i-TTL speedlight as the Commander, the SB-600 settings require use of Channel 3, Group A.

In addition to the wireless , the SB-600 offers a host of additional features for ’s Creative Lighting System. Highlights of the features are:

* FV-Lock: FV-Lock ( Value Lock) is comparable to the way an
AE-Lock functions in a camera for ambient light exposure metering. Once the camera measures a correct value, the SB-600 locks this value until the resets it — helping to maintain the value exposure as the adjusts composition for a scene.

* Auto FP High-Speed Sync : The SB-600’s Auto FP function can be used with the D2H to automatically fire the speedlight in i-TTL mode at up to 1/8000 second, offering excellent opportunities to use in brighter light, with faster aperture and for faster action scenes.

* Modeling : A modeling feature in the SB-600 fires a stroboscopic burst of light for approximately one second, allowing to visually confirm lighting and shadow effects before shooting.

* Auto Adjustment using Color Temperature
Information: The SB-600 achieves a high level of when used with the D70 or the D2H. With changes in the duration of light emitted by any speedlight, there are always slight variations of color temperature. Using the D70 or D2H in Auto mode, the SB-600 communicates these slight variations in color data back to the D70 or D2H and the camera’s auto system implements the fine adjustment needed for overall excellent .

* : The SB-600 also offers a full with power ratios from full power to 1/64 power, in 1/2 step increments for independent output control and creative lighting effects.

* Custom Settings: Custom settings in the SB-600 allow to personalize the speedlight according to selected preferences.

* Wide Area Illuminators: The SB-600 features a wide area illuminator that assumes autofocus assist functions in low light conditions. The
Illuminator covers all AF-points in all , including the D2H’s new 11-point AF sensors, giving the freedom to compose their shots creatively and shoot with confidence.

* Additional features: Additional features in the SB-600 include a large
, ergonomic controls, a rotating head which tilts horizontally and vertically, accessory filters for special color effects and emulation of fluorescent and incandescent lighting, front and side ready-light indicators for easy viewing, and a locking shoe.

The SB-600 is compatible with all digital and , achieving performance that is limited by each camera’s capability. The SB-600 will realize full i-TTL control when used with the D2H or D70 cameras, and D-TTL control and Auto Aperture (AA) when used with the D1, D1X, D1H and D100 cameras. The SB-600 will offer TTL and Non-TTL Auto control when used with all . The SB-600 Speedlight will be available at authorized dealer locations in Spring 2004. Price will be announced approximately 30 days prior to first sales.

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20 Sep 08 Basic Understanding of your Digital Camera Flash

Author: Chris Marshall

Many of us do not think twice about the usage of our ’s assuming that the camera will use the automatically as needed. however can and should be manually set in many scenarios resulting in high quality digital .

The most common usage of is when there is not enough ambient light for example when taking an indoor digital in a dark room. There are many other ways in which you can use your ’s to get high quality digital . One such usage is fill-in .

Before setting your to and making more efficient usage of it you should know a bit more of the technology and history behind . has been around for more than a century. During the early days of was implemented as a powder that was literally lit by either fire or electrical current. At that time was a risky business. today use a safe implementation by utilizing electronic tubes that are automatically synchronized with the camera’s shutter.

You have two options for using with your . The first option is using the internal . Practically all have build-in units. Most cameras also allow the usage of an external unit. Such units can be either mechanically attached to the or they can be connected to the camera via a cable and mechanically positioned on a tripod or any other mechanism. They are synchronized and controlled by the . External units vary in price and features. They can have different maximum light energy that they can emit and different mechanical (tilting, skewing).

In automatic mode the camera sensors evaluate the amount of ambient light in the scene. The fires the if the amount of ambient light is not high enough. There are limitations to the cameras automatic sensors resulting in either firing the when it was not needed or vice versa.

In some scenarios the usage of can result in poor digital . For example when the object is too close to the the light will be too strong and will wash out the object. Another example is in scenarios where the creates unwanted shadows in the digital . Yet another example is exaggeration of details such as when shooting a digital of an older person the skin wrinkles and imperfections details can be overly detailed.

’s units have a certain effective range. This is a limitation of how much light energy the unit can emit. Internal units usually have shorter range than external units. If the object in the is outside of the range the will not be effective and the object will be dark. On the other hand if the object is too close to the unit or the unit emits too much energy the object will be washed out. If your object is outside of your unit effective range you should turn off the and use slow shutter preferably with a tripod or another stabilizing mechanism. If your units allows the setting of the light energy that will be fired (usually by setting the distance to the object) make sure that it is set right to prevent washed out objects.

In some scenarios there will be enough ambient light to take a digital but without the usage of the the digital quality will be very poor. In such scenario if the camera is left on automatic mode it will not fire the . For example daytime with an object that is shadowed. If the object is wearing a hat it can create shades on the object’s face or when the object is lit from the side the object’s nose can create shades too. Putting the in manual fill-in mode will force the to fire. The will lit those shadowed areas and prevent the shades in the final digital . The object of course must be in effective range. Another example is an object that is lit from behind such as when taking a digital of an object against a sunset. Without a fill-in the will likely be just a dark silhouette of the object.

These were some basic concepts behind usage. There are many other advanced options for your . For example bounce can result in great digital in that mode instead of pointing the directly at the object it is pointed to some reflecting surface like a wall or a special reflector. The result is more natural light and color rich digital .

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19 Sep 08 Consumer Reports - Digital Cameras

, which employ reusable cards instead of , give you far more creative control than cameras can. With a , you can transfer shots to your computer, then crop, adjust color and contrast, and add textures and other special effects. Final results can be made into cards or T-shirts, or sent via e-mail, all using the software that usually comes with the camera. You can make prints on a , or by dropping off the card at one of a growing number of photofinishers. You can upload the file to a -sharing Web site for , viewing, and sharing with others.

Like camcorders, have LCD viewers. Some camcorders can be used to take still , but a ’s is no match for a good ’s.

WHAT’S AVAILABLE

The leading brands are , , HP, , , and ; other brands come from consumer-electronics, computer, and and companies.

are categorized by how many pixels, or elements, the contains. One equals 1 million elements. A 3- camera can make excellent 8×10s and pleasing 11×14s. There are also 4- to 8- models, including point-and-shoot ones; these are well suited for making larger prints or for maintaining if you want to use only a portion of the original image. Professional use as many as 14 .

Price range: $200 to $400 for 3 ; $250 to $400 for 4 and 5 ; $300 to $1,000 for 6 to 8 .

IMPORTANT FEATURES

Most are highly automated, with features such as automatic (which manages the , aperture, or both according to ) and autofocus.

Instead of , typically record their shots onto - cards. and (SD) are the most widely used. Once quite expensive, such cards have tumbled in price–a 128-megabyte card can now cost less than $50. Other types of cards used by cameras include Stick, Smart Media and xD- card. A few cameras, mainly some models, use 3 1/4-inch CD-R or CD-RW discs.

To save , you transfer them to a computer, typically by connecting the camera to the computer’s USB or FireWire port or inserting the card into a special reader. Some can take cards and make prints without putting the on a computer first. Image-handling software, such as Adobe Photoshop Elements, Jasc Paint Shop, Microsoft It, and ACDSee, lets you size, touch up, and crop digital using your computer. Most work with both Windows and Macintosh machines.

The file format commonly used for is JPEG, which is a compressed format. Some cameras can save in uncompressed TIFF format, but this setting yields enormous files. Other high-end cameras have a RAW file format, which yields the image data with no processing from the camera.

typically have both an optical and a small color . LCD viewers are very accurate in framing the actual image you get–better than most of the optical viewfinders–but they use more power and may be hard to see in bright sunlight. You can also view shots you’ve already taken on the . Many provide a video output, so you can view your on a TV set.

Certain cameras let you record an audio clip with a . But these clips use additional space. Some allow you to record limited video, but the frame rate is slow and the poor.

A lens provides flexibility in framing shots and closes the distance between you and your subject–ideal if you want to quickly switch to a close shot. The typical 3x on mainstream cameras goes from a moderately wide-angle view () to moderate telephoto (105mm). You can find cameras with extended ranges between 8x and 12x, giving added versatility for outdoor . Other new cameras go down to 24 or 28 mm at the wide-angle end, making it easier to take in an entire scene in close quarters, such as a crowded party.

Optical zooms are superior to digital zooms, which magnify the center of the frame without actually increasing detail, resulting in a somewhat coarser view.

Sensors in are typically about as light-sensitive as ISO 100 , though some let you increase that setting. (At ISO 100, you’ll likely need to use a indoors and in low outdoor light.) A camera’s range tells you how far from the camera the will provide proper exposure: If the subject is out of range, you’ll know to close the distance. But can tolerate some underexposure before the image suffers noticeably.

Red-eye reduction shines a light toward your subject just before the main . (A camera whose unit is farther from the lens reduces the risk of . Computer editing of the image may also correct .) With automatic mode, the camera fires the whenever the light entering the camera registers as insufficient. A few new cameras have built-in red-eye correction capability.

Some cameras that have powerful telephoto now come with image stabilizers. These compensate for camera shake, letting you use a slower than you otherwise could for following movement. But an won’t compensate for the motion of subjects.

Most new 6- to 8- cameras come with full manual controls, including independent controls for shutter and aperture. That gives serious shutterbugs control over depth of field, shooting action, or shooting scene with tricky lighting.

HOW TO CHOOSE

The first step is to determine how you will use the camera most of the time. Consider these two questions:

How much flexibility to enlarge do you need? If you mainly want to make 4×6 , a camera with a 3- or 4- will be fine. Such a camera will also make an 8×10 print of an entire image without alteration that looks as sharp as one from a 6- or 8- model. But to enlarge the image more or enlarge only part of it, you’ll want a 6- to 8- camera.

How much control do you want over exposure and composition? Cameras meant for automatic point-and-shoot , with a 3x- lens, will serve snap shooters as well as dedicate hobbyists much of the time. The full-featured cameras in the 6- to 8- range offer that more-dedicated will want to have. Two of the more important are a range of 5x to 10x or more, which lets you bring distant outdoor subjects close and also lets you shoot candid portraits without getting right in your subject’s face, and a full complement of manual controls that you determine the and lens opening. ‘

Once you’ve established the performance priorities that you need from a camera, you can narrow your choices further by considering these convenience factors:

Size and weight. The smallest, lightest models aren’t necessarily inexpensive 3- cameras. And the biggest and heaviest aren’t necessarily found at the high end. If possible, try cameras at the store before you buy. That way, you’ll know which one fits you hand best and which can be securely gripped. In our tests, we have found that some of the smallest don’t leave much room even for small fingers.

type and life. All can run on rechargeable of one of two types: an expensive pack or a set of AA . In our tests of the cameras, neither type had a clear performance advantage. The best-performing cameras offer upward of 300 shots on a charge, while the worst manage only about 50. We think it’s more convenient to own a camera that accepts AA . You can buy economical, rechargeable cells (plus a charger) and drop in a set of disposable lithium or alkaline if the rechargeable run down in the middle of the day’s shooting.

Camera speed. With point-and-shoot cameras like the ones we tested, you must wait after each shot as the camera processes the image. Most models let you shoot an image every few seconds, but a few make you wait 5 seconds or more. They may frustrate you when you’re taking in sequence.

Your other cameras. If you’re adding a camera to your lineup or trading up to a more versatile model, look first for one that’s compatible with the other cameras. If it is, you can share cards and . Designs within a camera brand line are often similar. So staying wit the brand you have lowers the learning curve on the for family members who switch between cameras.

Copyright © 2002-2006 Consumers Union of U.S., Inc.

For the latest information on this and many other products and services, visit www.ConsumerReports.org.

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