Bali Photographer / Thoughts and Portfolio

After postponed a number of times for various reason, I finally had a chance to go to Taman Ujung, a historical sites on the coast of Karangasem, East Bali, which was the heritage of ancient kingdom of Karangasem. My main intention is outdoor model photography instead of either landscape or architecture. It was actually the reason why I desperately insisted my girlfriend to go along as the model, whose out of a sudden seems to loose her camera mood in the last few weeks. It was actually cloudy when we left home, but thinking how rare the chance was, I decided to go and hope that sun would eventually come up.

Winding trip through scenic country road took us about an hour and a half, plus an awful breakfast break at a little cafe on Candidasa beach. Candidasa water garden which normally quite a scenic place for landscape seemed rather dull, so we just passed. Getting to the destination without any hassle we found the weather was quite nice, with deep blue sky especially on the direction towards the sea. The holly Mount Agung behind the site remained cloudy though.

Shit happened when we I started to took my gears out of the bag to prepare for a few pre-shots after a little orientation. I realized that I left the memory card in my computer back home. Fortunately mu girlfriend had her D40x with her, so after a little while elapsed to calm myself down. She refused the model session, I did not know why, maybe she did not confident enough with the camera setup or she had something else in mind. I had no other choice than taking a few architectural and landscape shot.

I used to use the same Nikon D40x before I got my Nikon D200 with a few better lenses and finally change my whole setup into Canon. Now I found myself disappointed by resulted picture. The picture of the main house taken through the frame of an old window here took me some time and five masks in post processing to gain rather desirable dynamic range and tonality. Still not comparable to supposed result of my Canon though.

I will definitely come back with my Canon EOS 5D full-frame camera, Canon ultra wide 17-40mm F/4 L lens, and at least the CPL filter for better landscape and architectural shots. Of course if I am lucky enough to get a model coming along, my favorite lens Carl Zeiss Planar T* 50mm F/1.4 will get its turn as well.

When I decided to trade My Nikon D200 into Canon EOS 5D, I also reversed the strategy in lenses assortment. With Nikon, I had rather cheap wide-angle lens and top-of-the-line telephoto lens. As my experience shown that most of my professional works falls into wide angle category, I went the opposite way round, I chased for good wide-angle lens and accept mediocre telephoto lens. Hollow space in the mid-range was filled in by super-fast 50mm prime.

Main lenses in my Nikon day was as follow:

• AF Nikkor 80-200mm F/2.8 D (last gen. w/tripod collar).
• AF Nikkor 50mm F/1.4
• AF Nikkor 35-70mm F/3.3-4.5
• Sigma EX 10-20mm F/4-5.6 HSM

Changed into my Canon days with the followings:

• Canon EF 17-40mm F/4 L
• Canon EF 50mm F1.8 Mark II (replaced later with Carl Zeiss Planar T* 50mm F/1.4)
• Canon EF 35-80mm F/4-5.6 (sold later)
• Canon EF 75-300mm f/4-5.6 III USM (sold later)

Trusting a number of reviews on the net - which proven to be true - saying that even cheap crappy lenses result in better pictures in full frame cameras compared to top-of-the-line lenses on APS-C cameras, I comfortably decided to go for Canon EF 75-300mm f/4-5.6 III USM to replace my brilliant AF Nikkor 80-200mm F/2.8 D for portraiture and telephoto.

Definitely the feeling in my hand between the two was extremely different. About 1,300 grams in full metal barrel and inner zoom of Nikon super-fast tele-zoom felt a lot more sturdy in my hand compared to 400 grams or so small plastic tube of the mediocre Canon. But price was extremely different as well. I got the used Nikon for about $750 (brand new was priced at $1,000 at that time) whilst I spent only $110 (brand new was priced at $180 at that time) for the used Canon a year later.

Coming to the most critical issue which is result, Canon EF 75-300mm f/4-5.6 III USM gave brilliant result with my Canon EOS 5D, regardless almost all friends and online reviews advised the opposite, especially when used with APS-C bodies. Sharpness, detail, and tone were brilliant. I would say that bokeh is nothing to worry too much in this range. Even bad lenses offers creamy bokeh in long focal.

However, performance is of a different issue. A am not a technical savvy who knows good technical presentation to show performance indicators, so it is purely a experience of an amateur user. Whilst focusing speed was sufficient to my need, and absence of IS was not felt as a problem as my previous Nikon did not have VR as well, I note a few problems:

• Vignet was clearly visible.
• Softening around the edge was visible, although in most telephoto shots with smooth bokeh it may even offer positive effect.
• Flare handling was mediocre, just don’t try to use it against the sun.
• Focusing performed bad in overcast background.

The picture below compares shots taken with different telephoto zooms. The left-hand side was taken by Nikon D200 with AF Nikkor 80-200mm F/2.8 D, and the right-hand side was taken with Canon EOS 5D with Canon EF 75-300mm f/4-5.6 III USM, both at their own maximum focal length of 200mm and 300mm respectively.

I have been so amazed with image quality resulted by prime 50mm lenses, making it my favorite lens especially for still life and full-body portraiture. During my days with Nikon I have owned and extensively used almost all 50mm variants the manufacturer has had including MF Nikkor 50mm F/1.2 AI, MF Nikkor 50mm F/1.4AI-S, MF Nikkor 50mm F/1.8 AI-S, AF Nikkor F/1.8D, and the latest AF Nikkor F/1.4D. When I finally decided to go for Canon, 50mm lens is among the first glasses to appear in my shopping list.

Financial reasons forced me to go for the cheapest Canon EF 50mm F/1.8 MK II, an extremely light little stuff with all plastic body priced at about $80 brand new. So small and lightweight that a fellow Bali photographer called it bottle-cap lens. Whilst many online resources, reviews, and other Canon users adore this lens, I have been disappointed right on the first shoot I took. I borrowed a couple similar lenses belong to my friends to make sure that it was not about the particular unit I owned. After about a month I was pretty sure that it was not a keeper, and started to research for replacement.

Knowing its price, I did not even consider the top-of-the-line Canon EF 50mm F/1.2 L. The option I strongly considered was obviously Canon EF 50mm F/1.4 priced at about $320. A few reviews I read advised that the significant price difference worthed. The four times price difference gave more than just one stop more light. Sharpness, focusing performance, response to flair, and bokeh are to name some benefits.

Whilst I was considering an offer of a used Canon EF 50mm F/1.4 in mint condition offered at $230 compared to buying brand new at $320, an irresistible offer came, a used Carl Zeiss Planar T* F/1.4 bundled with CY (Contax) to EF (Canon EOS) mount converter. The legendary Carl Zeiss SLR/DSLR lenses have never been built with Canon mount, so converter was the only solution for those using Canon camera who expects to get Carl Zeiss optical excellence. I am still wondering why Carl Zeiss set Canon aside whilst providing the lens with some other mounts including ZV (Hasselblad), SF (Nikon), ZK (Pentax), ZS (M42 screw-mount), in addition to native ZM (Contax Ikon).

As I have been educated with amazing reviews about Carl Zeiss lenses excellence, so it did not take me too long to decide to break the deal of Canon EF 50mm F/1.4 and go for Carl Zeiss. The only negative thing I understood was manual focusing. But I rarely use 50mm primes for shoots requiring fast focusing. Portraiture and still life shoots I am normally taking with these lenses obviously give sufficient time for precise manual focusing. Beside, the price was absolutely fantastic. The lens and converter package was offered at only $230 in like-new condition. In Indonesia, brand new in Nikon mount was priced at about $650 plus about $50 extra for mounting converter.

The mechanical construction of the lens was excellent. It had satin black metal barrel with textured rubber grip. Since it was manual focus lenses, the focusing action was firm and smooth. The feeling was much different than manually focusing most AF lenses. Since there was no concern about a small motor having to do the work, a substantial damping can be applied.

Praises gave by many reviewers as the sharpest 50mm lens has proven to be true. Focused properly It gave amazing results compared to my beloved AF Nikkor F/1.4D on my old Nikon day. No words to compare it to my dumped out Canon EF 50mm F/1.8 MK II as they were simply not in apple-to-apple comparison. Well, to be fair, Canon EF 50mm F/1.8 MK II was priced at $80, simply not comparable to $650 Carl Zeiss Planar T* F/1.4.

This lens is definitely a keeper. I just have to get myself back to the old manual days. But the trading of auto focus comfort worths, as photography is all about image quality. I guess unless I can afford to get Canon EF 50mm F/1.2 L, I will forget auto focus comfort in 50mm prime.

Saturday afternoon of the last weekend was spent with a few Bali photographer fellows at The Sol, a beach front restaurant where we used to hang out for good food at affordable price, drinks, chat, and shoots. Beauty of sunset at Canggu Beach, a spot on the mile span of golden sandy beach along Bali south-west coast is always fabulous. Every time I had a chance to bring my camera there always results in unique fabulous shots. Last weekend was quite special as my friend has just bought a brand new Canon 70-200mm F2.8 (IS) L, the best and most expensive Canon lenses at its focal range.

Obviously landscape is not the keyword for the lens, so after a few trial shots with his lens, I went back to my own old el-cheapo old-crack gears. My own project was landscape with slow shutter to bring dramatic silky effect out of the wave. Rocky beach with quite hard wave was among the perfect scene for this kind of shot, and stunning sunset brought fabulous color into the scene.

Tripod was essential for shooting at very slow speed, so I set my Manfrotto 190 XProB up on the rock. I had a little setup change in my tripod which sometime I may write about. Camera in use was Canon 5D with a Canon 17-40mm F4 L. It was the first time I brought my new Canon for landscape shots. I was still using Nikon D200 and Sigma 10-200mm F4.5-5.6 EX DG the last time I came down to Canggu.

Actually both setup resulted similar width. Whilst the Canon setup went down only to as short as 17mm compared to Nikon-Sigma setup which brought 15mm (out of 10mm focal length in 1.5 crop factor of Nikon D200), the picture was a lot more natural. The Nikon-Sigma setup resulted in too stretched out as it is actually 10mm compared to 17mm.

After getting amazed with the scene I saw through the viewfinder I started to prepare for the first shots, which show me that it was still too light whilst kicking the speed too slow makes the silky effect of the sea too much. So filters kicked in. I put a ND8 (natural density) in front of the lens to allow me to shoot a few stops faster. I found the sky was too bright compared to the sea. So I added an additional G-ND (gradual natural density). Both filters are Chinese TianYa brand at Cokin standard. These filters are among the most popular set for landscaper.

Following introduction of the new Nikon D700 I started seeing reviews comparing it to its big brother Nikon D3 and the legendary affordable full frame DSLR from its rival Canon EOS 5D. Lately introduced back in June 2008, the camera which is referred to be a D300 with full frame sensor is now available in stores. Current price tag is USD 2,999.99 at Ritz and GBP 1,532.45 at digitalrev.com.

Actually I do not think it as a fair apple to apple comparison. Nikon D3 is Nikon’s top-of-the-line camera for professionals whist D700 is basically an advance amateur grade D300 with full frame sensor. As of Canon 5D, whilst it features full frame digital sensor, it hit the market three years back, and obviously carrying older technology compared to Nikon D3 which is released at the end of 2007 as well as an even newer D700. Well, may be that’s not quite true, knowing that D700 is practically D3 sensor planted in D300 body, technology-wise, they are at the same generation.

However, it is actually hard to find a fair comparison as traditionally Canon and Nikon are setting their product line in slightly different level, not definite head to head. Priced at around USD 8,000.00 , Canon EOS 1Ds Mark III is beyond both Nikon D700 priced at around USD 3,000.00 or even Nikon D3 priced at around USD 5,000.00. As of Canon 5D, whilst it has a full frame sensor, it carries a technology of three years back. But should people wait for the strongly rumored Canon 5D Mark II? Of course not.

Whilst it carries a rather older technology Canon 5D remains a though competitor to both new Nikons. Almost everybody agree that each of them have their own strength, and logically choice depends on specific assignment an personal preference, except for those who have irrational brand loyalty.

Nikon D3 is the only pro camera among the three, and therefore the biggest, fastest, heaviest, toughest, most expensive with the fattest and longest lasting battery. Its strength is in speed. Those who had a luxurious chance to compared between D300 and D3 said that “whilst D300 users are very proud of its speed, they will definitely change their mind once they use D3″. AF excels at the maximum possible way. Sequence of picking the right focus sensor, focus, lock, compose is no longer required. Just compose and fire. Suitable shoots are low-light, action, and sport.

D700 inherit the all the quality of D3 in a slower pace. Those who had a luxurious chance to compared between D300 and D3 said that “whilst D300 users are very proud of its speed, they will definitely change their mind once they use D3″. Its strength is skin tone. Its weakness and strength is suitable for portraiture.

Downside of 5D mostly come from older technology it carries. Slower speed, screen resolution, and to Nikon users also ergonomic, and control systems. But to many, all the pain worth its result. A professional photographer wrote in its blog “Its a pain, but the results are why you do it.”

The Canon 5D excels in image quality. It has the sharpest pictures of these three cameras. Shooting careful landscapes, the 5D can give superior image quality above anything from Nikon. The 5D is sharper than the D3. It almost looks a little over-sharpened on-screen compared to Nikon, but on 20″x30″ prints it just looks better.

I personally have my own reason of using Canon 5D: its price. It is least expensive of these cameras. 5D can give superior image quality at a bargain price.

Promised to the be the most magnificent Balinese ceremony in the history, the event took enormous worldwide attention. Way before a lot of websites have started to write about it whilst travelers and photographers prepared themselves to witness the rare moment. I prepared myself by locking leave log in my office to ensure that nothing came out at the last minutes.

Advance preparation did not help me from making mistake however. With a few Bali photographer friends I went up to Ubud a little too late, resulting in parking our car far away from the event. It took us almost an hour on foot, half of which trapped in thousands of crowd. A friend who brought along a tripod and a portable ladder was forced to leave both of them back in the trunk.

Quite a coincident that the event took place only a few days after arrival of my new Canon 5D replacing my old Nikon D200, so it was my first Canon project. I spent the nights before to familiarize myself with its character, menu structure, and so forth. But a little time with the camera only on my front yard did not give me a lot.

Whilst I do not have a problem with menu structure, familiarizing myself with positioning of buttons and dials were the biggest challenge. Being the second was its exposure characteristic. However, I did aware that the event would be a real challenge for the strength of Canon 5D. I couldn’t wait to see how its full frame sensor results in two extreme situations: (1) Ultra wide shoots to capture everything in one frame, which I thought combination of full frame sensor and 17-40mm L lens should excel. (2). High ISO in low light as the schedule told that the fire would be set after the sun went down.

We got to the event after parade was over, so we lost a few important rituals. All of the ceremony’s elements including bade (carriage), lembu (the bull), and nagabanda (the holly dragon) are all placed on the ground of the royal setra (cemetery). We spent the whole half day to shot different angles of those magical stuffs and human interest shots of the thousands of crown in mix of local and foreigners. My game was wide angle shots with the brilliant 17-40mm L lens, and human interest with the very cheap 75-300mm which proven to work quite well in full frame DSLR. Ken Rockwell was right when saying that among the benefit of full frame is even crappy lens produce good shots.

As the sun went down preparation for cremation started by a series of rituals, including placing the body of the deceased into the bull. The fire actually set after dark burning both bulls with bodies inside. With very limited lighting (only a few lamps available on quite a wide ground), practically the only available light was the fire itself. The actual cremation took very short giving very limited time to fight the crowd to have a chance to fire just a few shots, during which times I replaced my lens a few times. I was disappointed with the performance of my ultra fast 50mm F1.8 which theoretically should excel in low light. In fact shots taken by my 17-40mm L F4 were by far better, even I had to shoot in high ISO to compensate is smaller aperture.

Whilst my mind has been firmly locked to trading my Nikon setup with Canon’s full frame, I realized that it would be hard to do, especially as I am not prepared to spend any additional money. I could only afford a trade, I released my current Nikon D200 and lenses ranging from ultra-wide to mid-range telephoto with similar set from Canon.

My Nikon D200 had a vertical grip with an extra battery attached, the brilliant professional lens 80-200mm F/2.8D ED, ultra-lightweight 35-70mm F3.3-4.5, small but razor sharp 50mm F1.4, beautiful ultra-wide Sigma 10-20mm, and a pair of speed-lights.

After weeks of research, I decided to reverse the setup. I had rather cheap ultra-wide and professional telephoto lens. Being focused more to landscape, architecture, and product photography, I only did telephoto like birds, sports, and wave surfing for fun. I expected the new setup to be the opposite way round, professional ultra-wide is essential, cheaper telephoto is acceptable.

Weeks of communication in local photographer forum finally yielded. It was not as complicated as I have thought before. Thinking that I would have to sell each of my stuffs one after another and only can start buying the new stuffs after all the old ones sold out, I got into a very quick triangular arrangement, trading my Nikon setup with a set of Canons which included a full set of 5D body, a professional EF 17-40mm F4 L, a small ultra-fast EF 50mm F1.8, an entry level telephoto zoom EF 75-300mm F4.5-5.6, and a powerful 550EX speed-light. All are used but in good shape coming with all boxes, plastics, books, warranty cards, etc.

Yeah, as I did myself, it was less than what I wanted, but with only adding IDR300,000 - equal to approx. USD33 - it was definitely a fair deal.

Whist it may sounds inferior, width of 17mm on full frame is similar to Canon’s 10mm and Nikon’s 12mm in camera with crop factor, plus an advantage of less distortion.

I lost the mid-range, no replacement for my Nikon 35-70mm, but I do not really need it anyway. The 17-40mm gave me more coverage in standard focal length than my previous Sigma 10-20mm.

I got 50mm F1.8, which was slower than my previous Nikon 50mm F1.4. Nothing more I can say, I do expect the same 1.4 aperture, but seems I have to live with what I got temporarily, otherwise I would have to put at least IDR2,000,000 (approx. $220) into the deal.

The very cheap 75-300mm zoom was among the cheapest lens in the world. I understood that I could not expect to much, especially compared to my previous Nikon pro. But again as always in my life, money matters. As so far I mostly need telephoto only for fun, I have to live with it at least temporarily. Ken Rockwell wrote on his website that even the crappiest lens on full frame works better than professional lens on a crop-factor camera. So I relied on it, hope he was correct, and of course dreaming of professional lenses on full-frame.

Last thing in the package was the high power 550EX speed light firing at the maximum GN of 55. Whilst it has been replaced by the newer more powerful 580EX and then the newest reface version 580EXII, its power and functionalities is better than the cheaper 430EX. To a surprise I got to know that Canon also has wireless capability, but unfortunately unlike my Nikon D200, Canon 5D does not have built in wireless flash commander function.

The large the image sensor the better the result is. Nothing new about it. That is the very reason why in the old film days, medium or large film sized used by Mamiya, Hasselblad, Holga, Rolleiflex, and so forth results superior images compared to standard 35mm DSLRs. Digital is no exception. The best will be camera with large digital sensor like Hasselblaad or at least a digital back attached to large or medium format camera like Mamiya. Even the cheaper second option costs at least eight grands, so it is definitely note my league.

So after having comfortable feel with DSLR, I started to look into full-frame, which even not as large as medium or large, offer double sensor size compared to DSLR with crop factor. Until introduction of D3 - Nikon’s first full-frame DSLR - Canon is the only DSLR manufacturer offering full-frame. Kodak used to offer one but seems to be discontinued.

I have never looked into D300 to replace my old D200. But the full-frame D3 priced at about five grands is something I could not afford even if I put myself on fasting for a year. So I started to look into Canon. Its three years old in production 5D is now offered at slightly below two grands brand new. But I do love the color space, ergonomic, speed, intuitive operation, and superb optical excellence of Nikon.

When after a few months of D3/D300 inauguration rumors started to tell about something in between - D300 specification with full-frame sensor - I was so enthusiastic to wait. I believe it will have the position like 5D in Canon’s product line, below the Pro class of 1Ds and beyond the consumer 40D, and therefore priced at similar range.

No, I was wrong. As it was finally announced, it priced at $3,200. It broke my heart and I made up my decision. I am going the Canon way. I will trade my Nikon D200 and all of its related equipments with Canon 5D. A few Nikonian fellows reminded that 5D is carrying the old technology. I believe it is true, but compared to my Nikon D200 which introduced only a few months after 5D, there should be so much difference. What is old about D200? Those migrating from the ancient gear of D70/D70s may find D300 amazing, but those migrating from D200 confirmed that the difference is not that significant.

So with all praise and respect to Nikon, I am going Canon way. I will be looking into used Canon 5D which in the market is sold at similar price to brand new D300. FULL FRAME.

Why would you haul a heavy professional lens only to use a half of it? Why would you spend a fortune for ultra-wide lens only to go as short as normal lenses do? Don’t you think it a waste of energy and money? You may start wondering what I am talking about. Right, I am actually repeating words thrown by a number of professional photographers about using a cropped digital sensor.

To cut the production cost and make consumer DSLR more affordable, manufacturers produce smaller image sensor, which then getting popular as DSLR with crop factor. Practically it is just as simple as cropping a small fraction in the middle of standard-sized sensor. Standard sensor size is 35mm, the normal standard of film size.

Following is sensor dimension of Canon and Nikon cameras:
Nikon DX (crop factor 1.5) 23.6 x 15.8mm
Nikon FX (full frame) 36 x 23.9mm
Canon (crop factor 1.6) 22.2 x 14.8mm
Canon (full frame) 35.8 x 23.9mm

Considering that cropped sensor is only using a small fraction of the image, manufacturers are cutting the price even more, making consumer DSLR price even more attractive, by producing smaller lens. These lenses do not work on full frame as they can only yield as small image as the cropped sensor can collect.

With the spirit of cost saving, it is very much understandable that both optical and construction quality are adjusted accordingly. It forces keen enthusiasts using cropped DSLR to use professional full frame lenses to benefit from their professional optical excellence, by technically wasting a significant part of its result cropped out. It is actually a waste of energy and money as professional full frame lenses are significantly heavier and a lot more expensive.

An additional waste comes on ultra wide photography. Cropping our collected image, ultra wide lenses result in similar images as longer ones. 14mm lens on Nikon’s 1.5 cropped DSLR results in similar image as 21mm on full frame lens. Price of 14mm (F2.8) lens is roughly $1,200 whilst 20mm lens (the same maximum aperture) costs only $500.

Ignoring all other full frame benefits, using full frame saves $700 for similar (even slightly wide) images, or you may still spend it for extremely wider results.

After introducing D3, the first camera with full frame sensor in its DSLR family, along with introduction of its second full frame DSLR D700, Nikon introduced the brand new D900 speedlight. Introduced in Amsterdam on July 1st 2008, among new and improved features over D800 is its full compatibility to FX sensor, Nikon’s name for its full frame digital sensor.

July 1st 2008 Nikon Europe introduced the latest state of the art lighting flagship, the Nikon SB-900. The new SB900 offers exceptional high-speed, high-power operation combined with an extended zoom range. The SB900 also incorporates a moving diffuser and light source that can zoom from 17mm to 200mm in just 1.2 seconds while maintaining an even light distribution. The versatile new flash provides a choice of three illumination patterns (center-weighted/standard/even) that can be selected to suit a particular subject.

Nikon Creative Lighting System (CLS) which includes speed-lights are widely regarded to be the best in the business, and the new SB-900 propels flash lighting into the future with really exciting creative opportunities available at the touch of a button, said Robert Cristina, Manager Professional Products and NPS, Nikon Europe.

The SB900 is perfectly adapted to both DX and FX formats, and will automatically select the appropriate light distribution pattern according to the sensor format of the camera to which it is attached. The SB900 also automatically detects the fitting of fluorescent or incandescent color filters, instructing the camera to switch to the appropriate white balance setting. Designed for today’s high speed digital image capture, the SB900 handles repeated firing at high power with an improved booster circuit for high-speed recycling and includes a built-in thermal sensing system that protects the unit against overheating.

It is fully compatible with the other speed-lights and accessories of the acclaimed Nikon Creative Lighting System and can be easily incorporated into multiple-flash lighting set-ups. Bounce flash capability is provided through a head that can be tilted up by 90º and down by 11º and rotated horizontally through 180º, making the SB-900 an essential accessory that opens up many creative opportunities to the photographer.

The SB-900 will be available as of 25th July 2008.

New Features

• Multi-step auto zoom covers wide 17-200mm zoom range (24-105mm?SB-800).
• Three illumination patterns (standard, center-weighted and even) are available to match each shooting environment.
• Automatically detects Nikon FX and Nikon DX formats and selects suitable light distribution.
• Improved booster circuit for high-speed recycle time: Recycle time using four AA-size batteries is almost equal to the SB-800 with five AA-size batteries.
• New AF-Assist illumination covers a wide 20-105 mm focal range compatible with the new Multi-CAM3500 FX/DX AF sensor.
• Firmware update via Nikon D3 and D700 is possible. The world”s first flash unit firmware update function via a digital SLR camera as of July 1, 2008 (according to Nikon’s own research).
• Thermal Cut-out function limits the number of flashes to avoid deterioration of light emitting parts caused by continuous flash firing.
• Automatically detects color filters (fluorescent or incandescent), enabling camera to control color temperature according to filter information from SB900.
• Improved switch panel for enhanced usability.
• Improved GUI using a large-size LCD dot panel.
• Bounce capability: tilts up to 90º, down to -7º, rotates horizontally 180º to right and left.
• Advanced Wireless Lighting and versatile functions for up to three remote groups of SB-900s or other compatible Speedlight controlled through the master SB900.
• Optional Water Guard WG-AS1 (for D3), WG-AS2 (for D300), and WG-AS3 (for D700) is useful for protecting the camera’s hot shoe contact when the SB900 is mounted on these Nikon digital SLR cameras.