Nikon Flash Samples

Nikon OEM "Sto-Fen" dome, speedlight tipped to 45 degrees

Nikon OEM "Sto-Fen" dome, speedlight tipped to 45 degrees

 Photographing under cloudy skies with the foreground subjects underneath an awning

 Similar shot with a flash bounced off of the inside of the awning.

Direct flash, no modifier, fills the shadows two hours before sunset.

Direct flash, no modifier, high noon.

Direct flash, no modifier. Exposure Adjusted for maximum cloud detail. Low angle emphasizes the sky.

Direct flash, no modifier. Exposure Adjusted for maximum cloud detail.

Direct flash, no modifier. Exposure Adjusted for maximum background detail. Very high ISO setting
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Ceiling bounce, with built-in bounce card to brighten shadows.

Ceiling bounce, with exposure adjusted to to compliment background. Flash used only when permitted. Click here for more details.

Forward ceiling bounce with the Black Foamie Thing.

Light bounced off of a back wall, exposure adjusted to bring out detail in the statue.

Light bounced off of the ceiling, slightly behind the shooting position.

Flash bounced off of the wall behind the shooter. Exposure adjusted for best background detail.

Subjects positioned in an alcove, single flash bounced from above and behind.

High ISO setting with a Gary Fong Cloud Dome.

A grid was placed over a single speedlight and aimed directly at the Thinker's face.

Lastolite EZ Box softbox, held up with a paint pole from just above the lens axis.

Shoot-Through umbrella, placed camera right.

Gary Fong Cloud Dome with CTO gel, placed on a paint pole aligned with the subject's nose.

2 Nikon speedlights: One with a shoot-through umbrella from camera left, and a second aimed directly a the painting in the background. Exposure controlled from camera mounted speedlight.

2 Nikon speedlights: One inside the sound booth with a CTO gel and a  dome. Exposure controlled from the camera using ceiling bounce. Room lights were turned off to allow for proper exposure of the computer screen.

3 speedlights: One cabled to a shoot-through umbrella, while one accent each for the car and the airplane. Exposure adjusted to emphasize the neon lights.

Multiple speedlights. Click here for details.

3 speedlights plus a controller. Key light provided by a direct flash, camera left. Notice the shadows on the ground. Two speedlights are mounted on the tent poles and pointed up into the ceiling. Because the are lit from a light coming from above, there is very little glare.

Too many to count. 3 speedlights with CTO gels pointing towards the back and side walls. 1 accent light pointing at the subjects from behind. 1 speedlight in a large softbox, while 1 speedlight is fired through a floor-mounted shoot through umbrella for fill. Exposure determined by the stained glass skylight. Click here for more details.

White Balance determines how the camera reacts to the inherent differences in the color of light. Incandescent light tends to have an orange cast when photographed with a Daylight White Balance Setting. The daylight balanced flash appears neutral, while the chandelier appears a warm orange.

Here the camera was changed to an Incandescent White Balance setting, so the chandelier appears "normal". An orange gel was attached to the flash so that its light now matches the light from the bulbs in the chandelier. Click here for more details.