Along comes the 900. I’ve had two for a few weeks now, and the unit is, well, smooth. What can I say? Ed Fasano, a General Manager at Nikon, asked me what I thought after handling it, and I told him, “Well, if the SB800 is a real nice Chevy, this baby’s a Cadillac.”
It’s bigger, stronger, sturdier. It has crucial additional features that will go a long ways to making CLS a more complete system. It has a guide number that is the equivalent to the power of a thousand suns! It will retail for $33.95 after mail in rebate! I’m lying!
Smooth light. The unit has three light distribution patterns, standard, center weighted and even. So, for the first time we can really address the quality of the light we are getting at the source, in addition to the zoom control. Have I done the old flash against the wall test to check for the distribution pattern? No. That would be waaayyyyyy too thorough for me. I kind of took it and thought I would see how it interacts with the human face in the way I often approach portraiture.
I prevailed upon my daughter Claire to take a break from the non-stop pool lounging she is currently engaged in since school let out and come out for some pictures with her best friend, Amanda. I suggested they do something to illustrate the closeness they feel as friends. Overhead is two SB900 units, bounced into umbrellas (Lastolite All in Ones) and then running through a Lastolite 3×6 Skylite Panel. The panel is diffusing light and blocking sun, as we shot this in my driveway, with some black paper hanging from the overhead door.
But I like the light. It wraps, and it is, again, smooth. It’s tough to articulate about light in a reasonable way. I use terms like smooth, rounded, harsh, angry, voluptuous, poppy, dreamy, soft, rich, evil…sounds at the end like I’ve described your average afternoon on All My Children.
But then I decided to not give the unit a break with lots of softness and went to a simple, reflected umbrella, which is not generally my light of choice. Just keep it basic and see what it can do. Amanda here is holding up the wall.
Same deal here. Umbrella camera left, up high, middling distance from Claire.
Simple is the way I might describe this. Easy, even. Running aperture priority at minus 2EV to keep the wall a bit dense and below middle gray. Claire is lit with the 900 in group A, the only light in the mix. Put a little extra power in the strobe to compensate for the muted nature of the frame.
OTHER COOL STUFF!
You know the selector button in the back of the SB800. They key to the kingdom? The button that allows all? The one that was reluctant to respond when punching it in a frenzy? The one when crunch time is happening on the job and your lights are completely set but you gotta make a change and you are pushing and pushing on the button so hard you feel like you’re that kid in Gary Larsen’s cartoon about Midvale School for the Gifted? Cause nothing’s happening? Or, you happen to have a thumb the size of a ham hock, and you can mash that baby all day long and it’s giving you flat line, no response? That one?
Ugh! Mongo make flash work now.
Well, say goodbye to that puppy. See the wheel above, in the middle. Key in virtually any function with a tap on the appropriate button and spin that wheel. Plus/minus EV, groups, channels, the whole deal. Once you get yourself set, see the lock symbol? Yep, you can lock it so you don’t thunder thumb it to group 9 or something I am often prone to do. See the temp scale? Cool! Burst away! The unit will tell you when it’s heating up. It gets to the top of that thermometer, a klaxon horn sounds and a pre-recorded voice screams “Emergency Blow!” Kidding of course.
See the on/off/remote/master switch? Thank you, strobe wizards! Do you realize if you multiply how many times you use this unit over the course of your life by the number of seconds it would have taken you to punch through the SB800 4 box grid and get to the options menu and drop the 800 into either master, remote or SU-4 (let’s say, 15 seconds) that you will be given back probably enough time to watch all of the Rambo movies and seriously ponder the nuances of characterization and subtleties of the human condition that define those movies? And how much richer your life will be because of that? All due to the simple on/off/remote/master switch. No more punching through the menu. Go click, you’re there.
The unit zooms to 200. Which means it can throw light from a good distance.
The light here is TTL, zoomed to 200mm, blasting at Claire from maybe 40′ or so. Not artful, especially for Claire, but good indication of things to come, and things that might now be possible. I’m speculating I can maybe make a 900 a master, and zoom it and get more reach for the signal to my remotes. Just a hunch, and as I get cranking better with these guys, I’ll report back. Check out the shoes. I always joke with Claire that her first word was, “Chanel.” She is a fashion plate, along with her friends
Tried another simple umbrella approach on this, and thank goodness for TTL, cause I’m shooting one handed and holding the stand on a rocky incline with my shoulder and other hand. Managed to get it pretty close, and it is wavering around up there, but the exposure stuck with me, and I came up with teenage girls and their sneakers. I always remember a Time cover story on Diane Keaton, shot by Douglas Kirkland I believe, many years ago, where Diane is on the rocks of Central Park with goofy shoes and a wide lens. Nice frame, as I recall. I’m always harking back to work, footnotes in the random stock files of my brain.
And….TA DA! The unit swivels 180 each way for a total of 360! Yep! It is the Linda Blair of strobe units. Swing that light head. It comes to a click stop of course, and then you go back the other direction. But it is a full 360 which means we just got away from the angling the unit to maximize sensor reception but at the same time potentially compromising the approach of the light to the subject. This feature alone is worth the price of admission, to me. I was showed this out at Nikon and I almost kissed Lindsay Silverman on the lips.
And…drum roll…final note of the morning. It’s got a computerized gel system. Huh? Yeah, that’s kind of what I said. But here’s the deal. You put the camera in Auto WB (gotta be there) and then slip one of the gels that comes with the units into a holder. The gel has computer chips embedded in it, and the holder makes contact with the unit and translates a color temp back to the camera. In other words, put a full CTO on the strobe, and the camera internally adjusts to an incandescent white balance.
The below is a little light flash on camera through a Lumiquest Big Bounce. Bit of CTO on the strobe, daylight balance for the scene. Color pattern about what you would expect.
But, put the full cto on that comes with the flash, and it signals the white balance shift. And you get this.
Bears exploration, to be sure. Pretty nifty technology. Feel very blessed to have experimented with this stuff. Mike Corrado at Nikon told me I was the first shooter to have my hands on it. Dunno on that, but if true, it means I am the first shooter to have broken one of them. Mike, sorry! One of them pitched off a stand and came up scott free, not a mark on it, except the dome diffuser cracked a bit. My bad. Not looking.
Tomorrow, pictures you get when you mix a ladder truck of FDNY, a D700, Times Square, Mike Corrado, and 3 onboard SB800 units. More tk.
And..just in. Jeff Snyder, the magician of Adorama–his email is firstname.lastname@example.org and he is taking orders per a note I got from him this am. I don’t know if you know Jeff, but he is a wiz at navigating the system in the early release of a product. Food for thought….also Nikon has a link on their press room site, obviously…