The Nikon Remote Wireless Flash System Is Easy To Use

Nikon's automatic wireless remote speedlight system makes it phenomenally easy and convenient to use a couple of remote flashes (like Main light and Fill light). It allows easy off-camera remote flash, and it provides an automatic point&shoot wireless remote TTL multiple flash system. Automatic setup is surely the largest factor for many people. Just set a flash or two out there and they can work. Immediate automatic TTL multiple flash setup, vs. tedious manual setup. However manual flash does offer absolute and full control, and the system can also be used as a wireless triggering system for manual flash power levels (which is NOT to be confused with Manual flash mode - it is still very much Commander/Remote operation, and incompatible with much manual flash gear, such as optical slaves).

Here is Nikon's Quick Guide for AWL setup instructions, with the menus of the various compatible gear.

It works well with one remote flash, but the system is at its best with two remote flashes. Using the Nikon Commander/Remote system, set the camera internal flash menu to Commander, and set each remote flash to Remote mode. You set one remote flash to be in group A, and one flash to be in group B (so the commander can individually control them). You throw the two lights out there somewhere (more care and planing is certainly a good thing pictorially, but the system doesn't care what you do). Be sure to rotate the remote flash bodies so that the side sensor is aimed at the commander on camera.

Then the commander will individually preflash and meter each remote flash group, and will set the individual group power levels so that they each meter the same intensity at the subject, regardless of their distances, or bounce, or modifiers. If using the internal flash or speedlight commander, this can include its flash too, if it is set to contribute in TTL mode (or it can be disabled with mode "- -"). You can also set your lighting ratio in the commander menu, and the system will do that for you too - to make one flash be intentionally stronger than the other, for main light and fill light concept. The preflashes take a split second, activated by the shutter button, just before the shutter opens. This is immediate automatic wireless remote point&shoot TTL multiple flash setup, and it is an Awesome capability. But like all automation, not always extremely versatile. Certainly very convenient, but automation is never complete control - sometimes TTL can be a surprise - simply not always accurate (which mostly depends on the brightness of the colors of the subject and background), but we always have Flash Compensation to fix it. The main skill to be developed for TTL flash is always the Flash Compensation button - don't hesitate to use it, always consider using it.

FWIW, CLS is the name of the current overall Nikon flash system, which includes features of iTTL, AWL, FV Lock, Flash Color Information Communication, Auto FP High Speed Sync, and AF Assist illuminator (see page 5 of SB-600 or SB-800 manual, or page B3 of SB-900 manual, for this description). This page is to show the Advanced Wireless Lighting option (AWL), which is the remote wireless feature with Commander, including TTL. I prefer to call it the Commander/Remote system, the term AWL seems less well known.

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Below are quickly done samples, showing automatic point&shoot TTL operation. No deep point here, just showing what the system does if we just throw a couple of lights out there (one in Group A and one in Group B, so the Commander can control them individually). The TTL system takes care of it. All results below use Commander TTL (except the setup pictures). The point I make is that the system does a lot of automation. These lights were intentionally sloppily thrown out there, intentionally at different distances here, just to show it works. Better planning is surely always a good thing, there is more to lighting, but the TTL system can in fact tend to many details. TTL exposure correction might sometimes be necessary, so simply just watch, and use whatever Flash Compensation that seems necessary to make it perfect (none used here this time, which was a little surprise).

This exercise uses the D300 internal flash as Commander, and two remote SB-800 flashes in two 45 inch Smith Victor umbrellas. The horse is metal, and this background is a gold paper. One point of the horse is to cast a background shadow, to judge flash intensity and softness.

Your picture need not be a tabletop scene like this... it might be a portrait, or a group, or a macro, or any picture where you would use flash.

The point shown here is that the Commander system TTL automatically sets the two groups of flashes to be equal at the subject, for effortless automatic point&shoot wireless remote multiple TTL flash. The umbrellas are not required, but this tries to also show how easily the umbrellas convert the harsh dark shadows to be very soft light, with only vague hints of shadows. All you have to do to achieve this is to open the umbrella and set them close. Everyone can do this, and it really matters.

Other things you should notice: (we do have to look at this stuff... it is what is happening):

First row - left picture, shadows, far legs, rear of neck, front of neck, and of course the background shadow - as compared to the umbrella next to it. Mild foreground reflection in each direct picture. See how the large umbrella wraps soft light around the subject? This is magic (but it is trivially easy).

Second row - greater distance from light is a darker sharper shadow. Up close is important for umbrellas.

Direct Bare Flash Direct - Only Right light turned on - at 43 inches	Flash in Umbrellas Umbrella at 36 inches - Only Right light turned on
Direct - Only Left light turned on - at 64 inches	Umbrella at 60 inches - Only Left light turned on
Direct - Both lights above.	Umbrellas - Both lights above.
One umbrella's sheer size tends to fill its own shadows and make the light soft (in large degree, if umbrella is close). And two lights let one fill the other's shadows, to degree possible (to be half as dark). Both ways, direct or umbrellas, this is automatic point&shoot wireless remote multiple TTL flash. If the lights are in different groups, then the Commander TTL system attempts to make both lights equal at the subject, regardless of distance or modifiers. So this is an even lighting, and a bit flat. But there is some control possible, see at right.	Umbrellas - Both lights - Right fill light compensated -1EV in Commander menu, to be slightly less flat
D300 Commander menu: Note that you can set the mode for the built-in flash group to be "- -", which disables the internal flash. It is still the commander, and it will still flash commands before the shutter opens, and its flashing won't look much different to you, but then it will stop when the shutter opens, and will not contribute lighting to the picture (if disabled with mode "- -") This is the -1EV compensation of the right fill light. You control the lights from this camera Commander menu. You can adjust your lighting ratio here (as shown), and the Commander will do that too. Group B of course refers to whichever light you placed in Group B.
Hot shoe flash. The previous off camera flash is a less flat, more interesting light, and just about as easy as hot shoe.	Umbrella setup - always located reasonably close. These are at intentionally different distances just to show it works. But close allows umbrellas to work better (more soft), and needs less flash power.
Here is something slightly more serious... just as easy, but at least I actually arranged the subject and the lights a little bit, took only a few seconds. The orchid is rotated for best view, and the umbrellas are pretty much in front and close. You can control the lighting ratio in the commander menu. Otherwise, it is point&shoot TTL. Really, this is incredibly easy. We must keep light off of black backgrounds, but velvet is different and magic. I had background separation here, and this is cheaper velveteen cloth, which is OK here. High quality black dress velvet is best (from fabric store), it is jet black even with zero separation from subject. If you will set the object on the velvet, then definitely get a yard of the good stuff (dress velvet). Use masking tape to pick up the dust specs which might show in the light. These are f/11 1/200 second, ISO 320, D300 and two SB-800 in two Smith Victor 45 inch umbrellas.
Left umbrella only	Right umbrella only
Both lights	Both lights, with right compensated -1 EV for ratio
Or this - Left only, back lighted with bare flash, flash head zoomed in tight, 0 EV	Right only, front lighted with umbrella, 24mm, 0 EV
Both	Setup, f/11 1/200 second, ISO 200, center metering, both groups TTL. Left flash comes through gap between stand and background cloth, hood on lens. The point is that the system does this too. These are pretty much snapshots. I did set the lights out there, sort of an unusual way to place them, and then pushed the shutter button. Presto! Point and Shoot flash.

This is easy, just playing around, try it. Basically we just set a couple of lights out there, and the system meters them and sets their power level. However, there is nothing to keep you from thinking about it a bit too, and tweaking your results. All Commander examples above used TTL metering of two flashes (and all also used +1 EV Flash Compensation). Two of the three setup pictures used one light bounced on ceiling (bounce is only way to get any depth in the room).

Hints

As always, sometimes flash compensation is necessary (often is necessary). Just simply do what you see needs to be done. This is the key, simple as that. The only difficult part is making novices realize this is necessary. If it needs a bit more light, add a bit of +EV Flash Compensation (or vice versa). THAT is how you fix it.

Frankly, I am normally much more likely to be at +1 EV Flash Compensation with Remote TTL, than at no compensation. This is certainly not without exceptions, and it definitely varies with each situation. Compensation is definitely NOT a "set one time and forget it" value. This is not compensating the flash unit, it is compensating the scene in front of the camera, and the next scene is likely different. It entirely depends on what you aim the camera at (see What Light Meters Do), so pay attention to results, at the time, all the time. Simply just do what is necessary, as you see it is necessary. Learning to do what is necessary (flash compensation) is the main key to successful flash pictures. Seriously. The difference between Wow! and Drats!, being the hero instead of the goat. You are the photographer, so simply just watch and fix it.

Many lighting things are possible, but there are sort of two major lighting situations. Equal lights on each side of camera, illuminating an area evenly, like a group portrait. Or a portrait (one person) is a Main/Fill situation, with shadow gradients that make the face greatly more interesting than flat featureless light. But subtle soft shadows, not harsh dark shadows (which is what fill does). One idea is that the Main umbrella is close (to be soft), and almost 45 degrees high and wide (causes shadows), with the fill umbrella near the camera axis (fills what the lens sees), which is necessarily back near the lens to be able to see around it. For this portrait (of one person), we typically want the Fill light to be -1EV down from Main (a good general purpose value), which is a lighting ratio, not really compensation. To create that ratio, just set that -1EV fill in the Commander menu (shown above on the horse, for the group which is the fill light). Or... if you need compensation too, this could be main +1EV above fill (both one stop stronger). Or you can use the Flash Compensation button to add flash compensation to all flashes (example, fill group -1EV, Flash Compensation +1 EV, both still one stop stronger).

Automatic TTL exposure varies the power level used by the flash. Flash Compensation also varies the power level used by the TTL flash (up to the maximum power available). For a manual power level, the flash instead simply uses the power level you said for it to use, so then compensation and automation has no effect (we instead tweak that power level manually). Not to try to be confusing, but.. you can set these types of compensation:

Here is the thing. These methods all add collectively. No matter how you set which ones, they all add to a total compensation. So establish a standard way you always do this, so you wont forget about some change somewhere. The camera viewfinder and top LCD show symbols if Flash Compensation or Exposure Compensation are not zero, so pay attention, and know when they should show, and what they mean. Don't lose track of what you have done.

As always, be mindful of the Ready light blinking, and make sure you are not asking for more flash power than the system can deliver. The remote flash can be set to beep this warning. The warning in the Remote flash LCD upper right corner can tell you how much more power was needed. Read and understand SB-600 page 29, SB-800 page 33, or SB-900 page D-4, about the insufficient power warning. Wider aperture, higher ISO, and closer distance reduces demand for power, to give you more effective flash power (from what you have).

Summary, Pros and Cons

There is much good in this Commander/Remote system, and very much convenience. This automatic system is extremely handy and extremely quick to throw a couple of speedlights out there, snap the picture, and be gone (automatic point&shoot remote wireless multiple TTL flash). This is not suggesting there is no advantage of learning some lighting and photography principles, but the system can give you automated good exposures. And certainly the work can be much more serious too (pay attention, correct what needs it, and do it again), but at some point, the Commander/Remote system is not without a few limitations.

Some advantages of Commander/Remote system are:

Some downsides of Commander/Remote system are:

FV Lock is a button on the camera (the models with a commander). It is the solution to several things. You frame and focus, and push the FV Lock button. Then the preflash and metering occurs, and the subject blinking also occurs too, to get it over with. The shutter does not activate with it. The camera remembers this metered Flash Value, and shows a small L symbol in bottom left of viewfinder to indicate it has it locked (see camera manual). Then the next several shutter buttons will use that same remembered Flash Value, without any more preflashes or blinking. You can press the FV Lock button again to turn it off, or it will time out when the display light times out (so read there about that L symbol in viewfinder, which keeps you informed). Shutter half press resets time out to keep the display on, and there is a menu to set a longer display time out. FV Lock is only needed for pictures of people, who move and blink. The tabletop above couldn't care less about blinking. FV Lock does all the TTL signaling and preflash early (at the FV Lock button), but it does not affect the Commander manual power level signals, which remain at the beginning of the shutter button.

To see this happen, you can differentiate between the command signals and the final flash by setting Rear Curtain Sync and a slow shutter speed of about one second. Then you can see the difference, before the shutter, and at the end of the shutter. FV Lock will do the TTL preflash and metering early (for each individual group). Then both modes, TTL and manual power levels, send commands immediately at the start of every shutter button (which I believe to set power level), and then the one second shutter, then the Everybody Fire NOW! trigger, and then the remote flashes flash, and the shutter closes.

Here are some demonstration pictures of the Commander Trigger signal in the bulleted list above. The camera internal flash commander can in some cases cause highlight reflections in close or shiny subjects. The first picture below shows the Commander's trigger signal, even though the internal flash is disabled with the "- -" mode (camera commander menu, mode for the group for builtin flash). This trigger occurs when the shutter opens, so the trigger can reflect in close shiny things (this mirror is exceptionally reflective). This trigger signal is the same in Commander TTL or manual power level modes. The room lighting is from the bounced remote SB-800 on the stand behind camera. Yes, this remote sensor ought to be aimed at the camera in the mirror, but it wasn't. This is a small room with lots of mirror reflection, it works easily. There is a white card taped to the mirror in lower right, just to have something close and bright at 3 feet.

Shooting into a mirror at 3 feet. ISO 200 f/8 1/200 second. The internal flash is disabled with mode "- -", so it does not contribute, but the Commander trigger signal is visible to the subject, which can sometimes affect close or shiny subjects. The shutter is open, so this reflection can sometimes appear in our pictures, not routinely, but in some situations.	Same as at left, except the Nikon SG-3IR infrared panel is flipped down to cover the internal flash. The panel blocks the visible light, but it still passes the infrared commands. The trigger reflects from the mirror, and still triggers the remote. It is IR now, and the subject no longer sees the visible light.
Same as above, just with the Remote SB-800 turned off so we see only the commander. Same f/8 exposure, and no IR panel was used. This is the magnitude of the Commander "Everybody fire NOW!" trigger. It is not very strong, not enough to contribute any light into the black picture, but it might cause a visible reflection in a close shiny thing (this mirror). The subject (camera and me) is 6 feet from the flash. Even white card on mirror at 3 feet is not visible, but there is a slight hint of the chrome tripod leg at bottom.	Same as above, with Infrared panel covering the internal flash, but Remote SB-800 is turned off. When I checked this, the IR panel reduced the D300 commander range to about 2/3 (from 120 feet to 77 feet). That may still be slightly more than range a SU-800 (which has a similar builtin IR shield).
Same as above, but f/2.8. No IR panel, and the Remote SB-800 is turned off. More effect is visible at f/2.8, and up close and shiny stuff can be a concern. If photographing this chrome tripod at 6 feet at f/2.8, surely the real flash then would largely hide this. The trigger can make a catch light in shiny things though, including your subject's eyes, when close.	Same as above, but f/2.8. Infrared panel is covering the flash. The IR panel has these two slits in it, and there is a flash back there behind it, which we are taking a picture of. Probably the sideways spill behind the panel is what is illuminating the finger. There is that tiny bright spot on tripod, but otherwise, this picture looks black.
For reference, at f/8 again, the internal flash is enabled to TTL mode here (into a mirror? Not usually wise). No IR panel used of course. Magnitude is much different, significant fill light contribution on close things. The internal flash was definitely OFF in the previous frames, for no contribution. The Remote SB-800 is on.	This is instead the orchid above, its same f/11 exposure at only two feet, with no IR panel used, with both flashes turned off. The orchid is not very shiny. So this commander trigger is NORMALLY no issue for us, but close shiny things can be issues. SG-3IR panel is a solution then, and it can also reduce subject blinking.

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