Nikon D200 and Studio Flash Systems

The manual that comes with the D200 is remarkably shy about providing

any help with using the camera with non Nikon flash systems - like the

ones that will be found in most studios.

 

I have looked for articles on this - but there soes not seem to be

much out there. Advice would be greatly appreciated, in particular

 

> Sync Volatge compatibility with the sync cable adapter on the camera

(If necessary I do have a Wein safe sync to use with the accessory shoe)

 

> Adjusting the camera white balance when using Non Nikon flash units.

 

With many thanks.

You may get more specific answers from knowledgable Nikon people, my own knowledge is really limited to the studio side.

 

Most modern studio flash systems don't have a high trigger voltage and your safe synch is a good safety device anyway - but please consider getting a radio triggering system instead, the market leader (Pocket Wizard) is fairly expensive but there are many very cheap ones available. Radio triggering is totally safe, doesn't have any wires so is much more convenient, and is also far more reliable than a hard wire connection.

 

As for colour balance, although in theory all flash systems produce 'daylight' there are variations between makes. The colour is also affected by floor, ceiling and wall colour, so a custom white balance is the best solution.

I use my D2X (presumably similar to the D200) with Elinchrom 500 flash units. Don't worry

about the synch voltage, and normally I leave the WB on auto for the Elinchrom flash, and

this seems to give consistantly excellent results.

 

Have fun

 

David

Many thanks for these really helpful and reassuring responses.

 

:)

Why would you expect any support from Nikon? There are too many variables and the requirements of studio photography are too diverse. There are probably older units that will fry your camera sync, but why take a chance? I use a Pocket Wizard system to avoid making any direct connection to the camera. The PW voltage is safe for any camera, and there are fewer cords to trip over, better mobility and less strain on the sync contacts.

 

Auto "anything" is unlikely to yield consistent results in the studio. The key word is "consistent". Do you want the "auto WB" to react to every angle and variable? Most lights change color temperature with power level, even line voltage - some more than others. Add to this the effect of the subject, background, modifiers or even the studio surroundings.

 

Exposure is somewhat easier if you use an incident flash meter. Still you must pay attention to lighting so that the dynamic range is within the capabilities of the medium.

 

If you need to nail the color, you need to make test shots. The most reliable method is to use a color chart and to analyze the results. One way is to use a Gretag-MacBeth Color Checker (there are several models) and InCamera (by PictoColor) to create a custom profile.

As you know, none of the studio flashes is compatible with Nikon iTTL or CLS yet. Nikon may have something in their sleeve (?), since the latest Nikon equipment chart shows an empty and unexplained box for studio flash.

 

Tons of information already provided on photo.net how to "intelligently" use the 2 incompatible systems. One and sure way is to use Manual flash mode on D200 that will turn off the Nikon iTTL/CLS, and will bring the built-in flash down to the same level of technology with your studio flashes.

 

Search photo.net for more information.

1.) It is good for sync voltage up to 250 volts.

 

2.) Shoot RAW and use a new or recent Gretag-Macbeth Color Checker or Mini color checker. Use the the third lightest gray patch for accurate white balance.

Radios are certainly the way to go for triggering since they are low voltage and give complete freedom of movement. With controlled stidio lighting JPGs can be perfectly adequate. If you use a grey card, shoot at several daylight approximate Kelvin settings and then use the color sampler in PS you can determine the temp of you lights by finding which setting gave the most equal RGB values.

The best solution I've found in the studio is to set the camera to Manual and use a good old fashioned flash meter for best results.

I use my D200 to fire the studio flashes.

 

D200 flash on manual (others mentioned this)

 

And D200 flash on 1/16, 1/32, or 1/64 power, so it recycles fast and doesn't drain the D200 battery

 

And Nikon SG-31R flash blocking panel on the D200 flash. The SG-31R costs $11, and blocks visible light from the flash, allowing infrared to pass. Flashes emit plenty of infrared, and the slave triggers on every studio flash I've ever used respond to infrared just as well as to a visible red flash.

I'm having a problem here too...

 

I use a Fokon wireless sync.

 

Everything triggers, but my photos come out dark. I have a Bowens lighting system, my settings are F8, 1/250.

 

Do I need to still use the Nikon on-camera flash? And set it to manual?

 

Thanks!

<p>I did a google search for nikon d200 for studio flash and came up with this thread, and as it turns out, I'm doing just what the earlier poster recommended, using the infrared screen. If anyone is still out there with this issue.</p>