2. Use the + or – buttons to enter
the Zoom menu. The default
menu will indicate manual zoom is
off.
3. Use the Mode button to turn the
manual zoom on.
4. Press the On/Off button to
return to main menu.
5. Use the Zoom button to choose
the correct zoom position.
SB-800
To set the zoom manually:
1. Press the SEL button for two
seconds to enter the CSM.
2. Use the + or – and Zoom but-
tons on the Multi-selector but-
ton to enter the Zoom menu.
3. Use the + or – buttons to turn
the auto zoom off.
4. Press the on/off button to
return to the main menu.
5. Use the Zoom buttons on the
Multi-selector buttons to change
the zoom range. The Zoom but-
tons have tree icons on them. The
button with three trees is for wide
angle lenses and the button with
one tree is for telephoto lenses.
Channels
When using a Speedlight in the wireless
mode, you can choose on which channel
your commander unit communicates with
the remote. You have four channels from
which to choose. This feature is included
because sometimes professionals can be
shooting where other photographers are
using the same equipment. In order to
prevent another photographer’s Speedlights
from setting off your own (and vice-versa),
you can set your remote commander to a
different channel.
Channel settings are changed in the
Speedlight Custom Settings Menu, which
was explained earlier in this chapter.
The SU-800, SB-800, and the
built-in Speedlight on the D200
can all be set to four different
channels. The built-in flash on
the D70/s functions as a com-
mander only if the remote flash
is set to Channel 3 Group A. In
other words, you can’t change
the channel on the D70/s built-
in Speedlight.
Setting groups
When using more than one Speedlight, you
want to set up your Speedlights in separate
groups in order to adjust the lighting for
each group to different levels. Setting each
group to different levels enables you to
achieve three-dimensional lighting. When all
of the Speedlights are set the same, the
lighting will be flat and even. For some sub-
jects this is good, but for other subjects you
want vary the light output in order to show
texture and contour. For example, when
shooting an object such as a circuit board,
you want the lighting to be nice and even so
you can see all of the details with clarity. On
the other hand, when photographing a por-
trait, you want to show depth and have a
varied tonality, so you want your main light
to be brighter than your secondary fill light.
To achieve this, you adjust your fill light so
that the output is less than the main light.
When the Speedlights are set to different
groups, you can adjust one without making
changes to the other.
Note

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