nikon total digital imaging system

7/31/2019 Nikon Total Digital Imaging System

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En

Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer. September 2010 2010 Nikon Corporation

Nikon U.K. Ltd. Nikon House, 380 Richmond Road, Kingston upon Thames, Surrey KT2 5PR U.K. www.nikon.co.ukFoto Distributors Nikon House, 68 Kyalami Boulevard, Kyalami Business Park, Midrand, 1684, Republic of South Africa www.nikon.co.zaNikon Canada Inc. 1366 Aerowood Drive, Mississauga, Ontario, L4W 1C1, Canada www.nikon.caNIKONCORPORATION Shin-Yurakucho Bldg., 12-1, Yurakucho 1-chome, Chiyoda-ku, Tokyo 100-8331, Japan www.nikon.com

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System Compatibility

Printed in Holland Code No. 6CE10030 (1009/A)K

D3 series D700 D300 series D7000 D90 D5000 D3100 D3000Flash

SpeedlightsSB-900/SB-700/SB-600/SB-400

SU-800/SB-R200

Flash SC-28/SC-29 Accessories AS-15

Remote AccessoriesML-3 MC-DC2 MC-21/MC-22/MC-23/

MC-25/MC-30/MC-36ML-L3

Power SourcesEN-EL4a EN-EL3e

Batteries EN-EL9/EN-EL9a EN-EL14

EN-EL15 MH-18a MH-21/MH-22

Battery Chargers MH-23 MH-24 MH-25

Multi-Power

MB-D10

Battery PacksMB-D11 MB-D80

GPSGP-1 MC-35

Wireless TransmitterWT-4A/B/C/D/E

Viewing AttachmentsDR-5 DR-6 DG-2 DK-17A/DK-17C/DK-17M/DK-18/DK-19

DK-22 DK-21M

Eyepieces

DK-20C

EyecupsDK-20 DK-21 DK-23

DK-24

SoftwareCapture NX 2 Camera Control Pro 2 Image Authentication Software

Focusing ScreensType B/Type E

Body CapBF-1B

LCD Monitor CoversBM-8 BM-9 BM-10

BM-11

Camera CasesCF-D700 CF-D200 CF-D80 CF-DC3 CF-DC2 CF-DC1

Google Maps is a trademark of Google Inc. Products and brand names are trademarks or registered trademarks of their respective companies.


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The Nikon Total DigitalImaging System:Let your imagination be your guide

Nikon is proud to bring you its latest incarnation

o the Nikon Total Digital Imaging System, ull o

photographic excitement, answers and inspiration.

Within these pages you will nd everything you

need to realize your present ideas and inspire new

ones. Whether you are a seasoned proessional or

a passionate weekend shooter, we are condent

that the contents o this brochure can help you crat

better images. Every item is designed specically

to work with Nikon cameras, which means a

seamless perormance that truly brings out the

best in you and your Nikon D-SLR. Got an idea?

Make it happen. Heres where you start.

T A B L E O F C O N T E N T S

This imag

via the Cre

System an

raphers im

Two SB-90

the kayak

above) we

triggered w

positioned

send com

both remo

Joe McN

nWhy more light? pp4-5

nSee what just one Speedlight can do pp6-7

nMagniy your potential with multiple Speedlights pp8-9

nMany eatures, unlimited possibilities pp10-11

nThe Nikon Creative Lighting System: Lineup pp12-13

nThe Nikon Creative Lighting System:Concept & compatibility pp14-15

nNEF and Capture NX 2 pp16-18

nCamera Control Pro 2 and Image Authentication Sotware p19

nBattery packs, batteries and battery chargers p20

nWireless transmitters and GPS unit p21

nRemote cord accessories and flters p22

nViewing attachments and close-up accessories p23

nSystem compatibility p24


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4

Why more light?

Its easy to understand the need or a ash in low-light

shooting scenarios, but Nikon Speedlights are also

extremely helpul in daytime situations with bright sunlightand deep shadow. The additional light helps cameras

capture what our eyes see so well. Its easy to orget that

the human eye is a remarkable optical instrument, regis-

tering levels o contrast between highlight and shadow

impossible or cameras to detect. With additional light

at your command, you can fll in the shadows and reduce

the contrast you see to within the range that your

cameras image sensor can record. The cameras built-in

ash is oten suitable, but the direct, rontal light can be

too harsh or fne detail, leaving some images with at,

overexposed areas. A simple wireless, o-camer

rom the side, however, provides added depth as

as smooth, rounded tones rom highlight to shadshown in the center picture below). Perhaps the

powerul argument or additional light is aesthetic

more strategically placed Speedlights can transo

mood o your photograph in ways available light is

to. Speedlights can quickly and easily turn taking sn

into creating images that reect the original me

o the word photography drawing with lig

wherever you are into your own personal studio.

ing seamlessly and wirelessly with your Nikon D-

Nikon Creative Lighting System makes it easy.

A model in shadow against a bright

background photographed

without Speedlight. Matrix

metering. No exposure

compensation. Exposure

is well balanced, but thepicture lacks impact.

Opposite page:A third Speedlight is employedhere rom behind the model.Attached to the supplied Speedlight stand on the ground, The Speedlights ash

head is tilted 45 upward. This third light creates the shimmering light around

her hair and shoulders and helps separate her rom the background.

Joe McNally

The same model photographed

with one off-camera

Speedlight. Notice the

richer, more saturated

color. The Speedlight

fred rom camera let inan angled position (45)

to create depth.

Adding a second Speedlightrom

above and bouncing it o

o a reector rom be-

low. Strong shadow

rom the models

neck is removed.

Nikon Creative Lighting System:

Easily accomplish studio quality photographs virtually anywhe


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One strong lightfromoutside a window

World-renowned photojournalist Joe

McNally has some advice when taking

pictures. The most important thing is to

frst see the picture in your minds eye,

he says, Everything comes naturally

rom there, such as where to place the

camera and how to light your subject.

While shooting high-school athletes in a

locker room, Joe envisioned a picture o

his subject in golden, late aternoon light.

To create the right environment, he posi-

tioned a camera low using a wide-angle

lens. Then, he placed one Speedlight out-

side the window, distanced ar enough to

create deep shadows across the lockers.

Using a Color Filter in order to warm the

light appropriately and zooming the ash

head to 200mm to concentrate the light

on the athlete, McNally recreated the

shooting situation that hed frst con-structed in his imagination. The picture

above looks like it was taken in the natural

light o a late aternoon, but in actuality

was shot using a Nikon Speedlight,

helping to maintain Golden Hour

lighting or as long as desired. With just

one Speedlight, the level o nuance to

explore is astounding.

6

Beautiul sot lightbounced offa wall

Kids have their own agenda, even

while Im shooting, says child photog-

rapher Kathy Wole, one o the key

principles o photographing children is

speed. Wole has to fnd quality light

ast or quickly create her own when

needed, such as when in a low-lit room

while her child models remain

cooperative. The light and remarkably

portable Nikon Speedlights are always

in her camera bag. How she works with

the Nikon Creative Lighting System

(CLS) is simple but what she gets is sig-

nifcant. She tilts the ash head o a hot-

shoed Speedlight toward a white wall

or a bounce-ash eect. This simple

act can transorm harsh light into a sot,

smooth glow. Any large, white surace

can act as an impromptu light-sotening

device a simple technique that resultsin richer colors like those you see here.

Wole almost always uses the i-TTL

ash mode. That way the innovative

Creative Lighting System calculates ideal

ash exposures or her automatically,

rame ater rame, allowing her to

concentrate on capturing the moment.

See what just one Speedlight can do

On-camera bounce

Speedlight

SU-800commander

TTL Remote Cwith camera

The Speedlights ash bounces o the large white wallbehind the photographer, wrapping this low-lit roomwith sot light.

Use your surroundings as a light-shapinSpeedlight placed outside the window warm, late aternoon light.

Wireless remote ash rom the right side o the cameraerases unwanted shadows cast on the wall by thewindow light rom the let.

Kathy Wole

Even with a single Speedlight, countless combinationso subtlety and nuance can be explored.

Joe McNally

Kathy Wole


5/128

Magnify your potential with multiple SpeedlightsSecondary fashfrombehindor a beautiulhalo o light

In order to capture important events as

they happen without distractions, a wed-

ding photographer must be exible and

unobtrusive. Helpul words rom Cli

Mautner, one o the proessions most

respected practitioners. How he uses

the Nikon Creative Lighting System is

both simple and strategically eective.

All he needed to create texture, dimen-

sion and mood in the image above was

an o-camera ash fred rom the let

side o the rame. Wireless control and

i-TTL make it easy. To get sot light in

situations where reectors or a white

ceiling are not an option, Cli tilts the

ash head 90 degrees upward or

even backward to eather the light,

sotening a harsh ash to ft the scene

beautiully. This way he adds just theright amount o light to show the clear

ridge o the brides profle in the picture

above. To open up the shadows in the

brides veil, he introduces a second light

rom behind. This is set in a dierent

group than the main ash, which means

that he can turn it on and o ro m his

camera seamlessly, and without disturb-

ing his subject.

Small, precise lightingaround the subjecttoreveal detail

I am addicted to light. It never stops

surprising me, says still lie photographer

Yves Paternoster, It truly is a game o

inches, changing the look and mood o

my pictures depending on where I place

it. As a studio shooter, Paternoster likes

to take the kind o light you fnd outdoors

and use it inside a studio environment,replicating natural light by creative use

o ashes. The Close-up Speedlight

Commander Kit R1C1 does this and

more. It makes me creatively brave,

he says, adding Well, I eel that it

can make anyone

creatively brave.

The SB-R200 ash

units that work with

the SU-800 are small and wireless, so

photographers like Paternoster can play

around with light reely by handholding

the unit in dierent positions to get

exactly the eect they want. Although

he was satisfed with a particular ower

picture taken with a single ash unit, he

decided to explore dierent possibilities

by introducing a second light source.

What he did was simple, but what he

achieved was a powerul new alterna-

tive shot, as you can see above. Whileintuitive control is a big advantage o

the system, the ability to control light

precisely as required in normal studio

lighting is o great importance. As

you can see rom the picture on the

right, the R1C1 plus three additional

SB-R200 units let you illuminate exactly

where you want on very small objects.

The system is like a portable pocket-

sized studio, but the level o precision

can still amaze even seasoned

photographers.

One remote unit is handheld by a photographersassistant at an angled position, creating texture anddimension.

Taken with one Speedlight

Playing with light: here, in addition to thSB-R200 above, another SB-R200 is hailluminate the owers rom below.

Main light rom the cameras let illuminates the bridesace. A second light rom behind the subject revealsdetails in the veil.

Cli Mautner

Speedlight group A Speedlight group B

SU-800 on-camera commander

Cli Mautner Yve

Yve Yves Paternoster


6/12

i-TTL balanced ll-fash

Just the right amount o light or well-balanced oreground

and background exposure

Incredibly useul in varied or unpredictable lighting, the

innovative i-TTL system delivers consistently accurate ash

exposures automatically. Whenever your Nikon digital SLR is set

to either 3D color matrix metering II or center-weighted meter-

ing, your Speedlight automatically readies i-TTL to

deliver balanced fll-ash. In this mode, a monitor

pre-ash fres microseconds beore the actual

ash, accurately inorming the Speedlight on the

latest scene inormation. Even or difcult scenes

such as backlit subjects, the ash comes through

with well-balanced exposures across the rame

and avoids overexposing the subject.

10

Many features, unl imited possibilities

Auto FP high-speed sync

Shallow depth-o-eld or portraits in bright conditions

When shooting a portrait under harsh lighting such as the

noonday sun, the lighting conditions may orce you to use /11

or an even smaller aperture, which may not render the portraityoure looking or. Auto FP high-speed sync lets you move past

your cameras normal sync speed o around 1/200 or 1/250 second

to shoot at much aster shutter speeds as high

as your camera is capable o enabling the use

o larger apertures such as /2.8 or a beautiully

shallow ocal plane, which looks great in portraits.

High-speed sync also works when stopping action

at high noon.

Flash Value (FV) lock

Maintain fash exposure in constantly changing lighting

conditions

The FV lock helps you maintain the same ash value or correct

exposures during a sequence o photographs. This allows you

to zoom in on your subject, change the composition or adjust

the aperture, all without altering your intended exposure. The

pictures here were taken using FV lock. Notice

how the ash output value remains the same,

even when a highly reective surace (o the train)

enters the rame. This way you can concentrate

on capturing your subject without worrying about

adjusting your subjects lighting.

Auto FP high-speed sync or shallow depth-o-feld

Kathy Wole

Flash output remains the same with FV lock activated

Joe McNally

i-TTL balanced fll ash

Joe McNally

Normal sync or deep depth-o-feld

Rear-curtain sync

Create a sense o motion with intended blur

When using rear-curtain sync mode, a ash fres at the

end o an exposure instead o at the beginning. When y

shooting at 1/30 second or slower, the image sensor so

the available light. Then right beore the shutter closes,fres to illuminate the main subject. As the name Speed

implies, the ash fres very quickly, reezing the action o

main subject. Apply this to a moving subject, and the e

eye-catching, giving the viewer a sense o movement t

the combination o sharp eatures and intended blur.

Rear-curtain sync to fre ash at the end o the exposure

Joe McNally

Slow sync

Capture the ambient light with a slow shutter speed

When shooting a dimly lit scene with available light, a

normal sync speed such as 1/250 second will expose y

subject but cannot properly expose the surroundings. a shutter speed o 1/30 second or slower in any o the

exposure modes, the ambient illumination will be more

balanced.

Slow sync

Joe McNally

Normal sync

The same scene taken without ash

Speedlight and high ISO combination

Add a touch o quality light to your quantity o light

While many shooters praise the incredible power o Nikons high

ISO perormance, it is worth noting the important dierencebetween quality o light and quantity o light. While a high ISO can

increase your shooting power in situations with a low quantity o

light, high ISO alone cannot improve the quality o light. This is a job

or Nikon Speedlights. A simple ash can open

up the shadows across a models skin and draw

our attention to her ace as the photographer

intended. A Speedlight working together with

high ISO also allows you to illuminate araway

subjects with straight or bounce ash.

Flash fll-in and high ISO (1600) used to

Joe

High ISO without using ash


7/1212

The Nikon Creative Lighting System

SB-600Compact versatile Speedlight

for D3 series, D700, D300 series, D7000,D90, D5000, D3100, D3000

Acts as a remote unit in AdvancedWireless Lighting

Easy operation with large, bright LCDmonitor and six backlight buttons

Power zoom covers 24 to 85mm AF-assist illumination for multi-

point AF

SB-400Pocket-sized lash with

bounce capabilitiesfor D3 series, D700, D300 series, D7000,D90, D5000, D3100, D3000

Four available angles for bounce flashopportunities

Flash exposure control set on thecamera, such as slow sync, red-eyereduction

Runs on t wo R6/AA-size batteries

SB-700High-perormance versatile Speedlight brings simplicity to on-camera, remote and multiple lash photography

for D3 series, D700, D300 series, D7000, D90, D5000, D3100, D3000

Functions as a master or remote flash unit in Advanced Wireless Lighting Controls an unlimited number of Speedlights for up to two groups Offers four independent channels of wireless control up to 10 m for competitive

shooting environments Power zoom covers wide 24-120mm zoom range (Manual also available) AF-assist illumination for multi-point AF compatible with Multi-CAM 4800DX

autofocus sensor module to cover a 24-135mm focal length Three illumination patterns to match shooting environment: standard, center-

weighted for portraits and even for group or wide shots Automatically selects suitable light distribution for Nikon FX and Nikon DX formats When using a supplied filter SZ-3TN or SZ-3FL, SB-700 automatically identifies the

mounted one and adjusts cameras white balance User-applied firmware update function via a D-SLR Short recycling time Thermal cut-out with a built-in temperature sensor Quick wireless control mode [When the SB-700 is set as a master flash unit (serves

as a commander mode only), light amount ratio of two remote flash unit groupscan be easily set]

Various flash modes and flash controls for D-SLR users

SB-900Nikons top-o-the-line Speedlight oers unparalleled power,versatility and control

for D3 series, D700, D300 series, D7000, D90, D5000, D3100, D3000

Functions as a master or remote flash unit in Advanced Wireless Lighting Controls an unlimited number of Speedlights for up to three groups Offers four independent channels of wireless control up to 10 m for competitive

shooting environments Power zoom covers wide 17-200mm zoom range (Manual also available) AF-assist illumination for multi-point AF compatible with Multi-CAM 3500 FX/DX

autofocus sensor module to cover a 17-135mm focal length Three illumination patterns to match shooting environment: standard, center-

weighted for portraits and even for group or wide shots Automatically selects suitable light distribution for Nikon FX and Nikon DX formats Automatically identifies mounted color filters and adjusts camera white balance User-applied firmware update function via a D-SLR Short recycling time Thermal cut-out

Wireless Remote Speedlight

SB-R200Also available as a separate unit

for D3 series, D700, D300 series, D7000, DD3100, D3000

Two SB-R200 units are included with botand the R1. Each unit features a guide nu(ISO 100, m) or 14 (ISO 200, m). When attlens via the SX-1, the flash head can be ti

degrees toward the optical axis of the lendegrees away.

Diuser SW-12This milky-white panel diffuses light

from a flash and softens shadows.

Flexible Arm Clip SW-C1Allows attachment of items such as a

diffuser. Can be attached to the guide

groove of the Attachment Ring SX-1.

TTL Remote Cord SC-28/SC-29 (1.5 m)

The SC-28/SC-29 makes off-camera TTLflash control easy and assured. With theNikon D-SLRs, the SC-29 also works as anexternal AF-assist illuminator.

Sync Terminal Adapter AS-15

The AS-15 is compatible with cameras suchas the D7000, D90, D5000, D3100 andD3000, which feature standard ISO-typeaccessory shoe but lack a sync terminal forlarge studio strobes.

Power Bracket Unit SK-6/6A

Not only does the SK-6/6A enable you touse the camera-mountable SB-900 as agrip-type flash, it also offers you remoteflash capability. Used as an external powersource or in combination with theSpeedlights own power source, theSK-6/6A reduces minimum recycling time bynearly half while doubling the total numberof flashes available.

*Productnamevariesaccordingtoregion.

High-Perormance Battery

The SD-9 is an external power Nikon Speedlight SB-900. It cantwo sets of four R6/AA-size baing a stable power supply for tgreatly increasing the number oand reducing recycling time.

Flash Accessories

Extreme Close-up PositioningAdapter SW-11For centering the light from the SB-R200

flash to an optical axis, which is especially

effective in close-up shooting.

Recommended for shooting distances

within 15 cm (lens to subject).

Wireless Speedlight Comman

SU-800Also available as a separate unit

for D3 series, D700, D300 series, D7000, DD3100, D3000

Placed atop your Nikon D-SLRs hot shoe,acts as a commander for as many Speedldesire.

Close-up Speedlight Kit R1C1/R1The ultimate Speedlight system or creative, wireless close-up

photography

R1C1: Close-up Speedlight Commander Kit (SU-800, two SB-R200s and allthe accessories)

R1: Close-up Speedlight Remote Kit (Two SB-R200s and all the accessories)

Zoom head set to 200mm in order to strike the brides ace clearly.

Cli Mautner

The Speedlight Lineup

R1C1

Up to three remote groups and four channels using SU-800 as a commander andSB-R200s as remote units can be arranged to enable creative lighting from the left,right, above or below your subject

Settings are easily made and confirmed on the SU-800s LCD panel from thecameras position

SB-R200 units can be tilted up to 60 degrees to accommodate lenses with shortworking distances

*There arelimitationsto usablelenses.

Attachment Ring SX-1Can hold up to four SB-R200 units on

the lens or up to eight off camera.

R1C1/R1 Accessories

Speedlight Stand AS-20 Adapter Rings IR Panel or B

SG-3

Color Filter Holder SZ-1 Color Filter Set SJ-R200 Cas


8/12

Speedlight Compatibility

Speedlight/Features compatibility

SB-900 SB-700 SB-600 SB-400 SB-i-TTL balanced fill-flash Advanced Wireless Lighting

Auto FP high-speed sync*1 FV lock*1

AF-assist illumination for multi-point AF

Flash Color Information Communication

Switching illumination patterns

FX/DX selection

Firmware update capability

*1 Not available with D5000, D3100 and D3000 *2 Activated by the commander function of SB-900, SB-700, SU-800 , D700, D300 series,

Transmission mode:Infrared-pulse emitting communication using a flash discharge tube

Transmission range: Approx. 20 m for the SB-900/SB-700/SB-600, and approx. 4 m forthe SB-R200 at normal setting

Number o channels: 4

Number o groups: 3

Number o transmissions: Approx. 1,200

Transmission interval: Approx. 1 second

Flash light wavelengths: Approx. 800 to 1,000 nm (infrared ray)

Flash coverage: Approx. 60 (vertical), approx. 78 (horizontal)

Display: LCD, ready-light

AF-assist illumination or multi-point AF: Approx.10 m at center area using a50mm f/1.8 lens

Power source: One 3V CR123A lithium battery

Dimensions (W x H x D): Approx. 68 x 96 x 58 mm

Weight (without battery): Approx. 160 g

Wireless Speedlight Commander SU-800 speciications

Electronic construction: Automatic Insulated Gate Bipolar Transistor (IGBT) and seri(for wireless remote flash unit only)

Guide number: 10 (ISO 100, m), 14 (ISO 200, m)

Angle o coverage: 24mm

Flash mode: i-TTL; D-TTL; M (Manual): full to 1/64 output (close-up), full to 1/128 outp

Min. recycling time: Approx. 6.0 seconds (Manual at full)

Number o lashes: Approx. 290 (Manual at full)

Flash head tilt angle: Down to 60, or up to 45

Mounting oot: Dedicated shoe for Attachment Ring SX-1 or Speedlight Stand AS-20

Target light: White LED

Display: Ready-light

Power source: One 3V CR123A lithium battery

Dimensions (W x H x D): Approx. 80 x 75 x 55 mm

Weight (without battery): Approx. 120 g

Wireless Remote Speedlight SB-R200 speciications

14

The Concept

Innovative i-TTL fash control

Working photographers around the world are discovering how

the Creative Lighting System (CLS) brings simplicity and real-

world usability to both multiple-ash and single-ash photogra-

phy. At the core o the innovation are Nikons i-TTL ash control

technology and the precision monitor pre-ash, which work

together or accurate ash exposures. Here is how multiple

wireless lighting works: with i-TTL mode activated, the master

Speedlight that is hot-shoed to the camera will send signals to

remote units, ordering them to pre-ash the scene. Through the

lens, the camera analyzes what it sees in the scene, constantlyadjusting the pre-ash output o independent remote units.

Once it measures the correct exposure or the entire scene,

it determines the ash output value all rom the centralized

point-o-view o the camera. In nearly any lighting situation,

i-TTL ash control will perorm all the complex lighting calcula-

tions or you. The precise eedback inormation rom Nikons

exclusive monitor pre-ash registers everything rom available

light and shadows to color temperature and reective suraces

within the scene. The camera also integrates inormation rom

its built-in database o over 30,000 actual scenes to determine

the ideal exposure. All o this happens within milliseconds

beore each shutter release. Whether on top o a camera or

used as a wireless remote unit, CLS

oers the most dependable and consis-

tent ash exposure in the business.

Advanced Wireless Lighting intuitive, fuid operation omultiple remote Speedlights

One o the greatest benefts o CLS is that

controlling multiple Speedlights is just as

easy as controlling a single, on-camera

Speedlight. Whats more, the system is

wireless, so setting up your Speedlights

can be done quickly and smoothly no

matter where youre shooting. From the

master Speedlight connected to the hot-

shoe o your camera, you can control theash output o up to three groups o wire-

less remote ash units, adding any number

o Speedlights to each group. Simply set

everything to Nikons exclusive i-TTL or

accurate exposures in diverse lighting situations. You can also

explore alternate exposures by using the master ash unit to

adjust the ash exposure compensation o individual Speedlight

groups. Turn o any o the Speedlight groups, or or more direct

control you can uidly switch rom i-TTL to manual. All opera-

tions can be achieved easily via the LCD panel on the master

Speedlight, and all o these are possible without ever leaving

your camera. Multiple Speedlight control has never been this

intuitive or uid. No other lighting system comes close.

CLS makes controlling remote multiple Speedlights aseasy as controlling on-camera ash. It seamlessly andwirelessly works with Nikon D-SLR.

Joe McNally

Control all rom the LCDpanel o your masterSpeedlight. Set the ashmode, turn Speedlight

groups on or o andcontrol the ash expo-sure compensation orup to three Speedlightgroups.

Advanced Wireless Lighting System compatibility

D3 series, D700, D300 series, D7000,

D90, D5000, D3100, D3000

D700, D300 series, D7000, D90

SB-900/SU-800A group

SB-900, SB-700, SB-600, SB-

C group

SB-900, SB-700, SB-600, SB-

B group

SB-900, SB-700, SB-600, SB-SB-700

Built-in flash commander mode

Cameras Master/Commander Remote

SB-900 SB-700 SB-600 SB-400Guide number 34/48 (standard illumination pattern 28/39 (standard illumination pattern 30/42 (with zoom head set at 35mm) 21/30

(ISO 100/200, m) with zoom head set at 35mm) with zoom head set at 35mm)

Light distribution angle Power zoom 17-200mm; 12mm with Power zoom 24-120mm; 12mm with Power zoom 24-85mm; 14mm with 27mm

(in FX format) built-in wide-flash adapter built-in wide-flash adapter built-in wide-flash adapterIllumination pattern 3 illumination patterns 3 illumination patterns

(standard, center-weighted, even) (standard, center-weighted, even)

Flash mode i-TTL, auto aperture, non-TTL auto, i-TTL, distance-priority manual, i-TTL, D-TTL, TTL, manual, i-TTL, manual (not availa

distance-priority manual, manual, manual, repeating flash* repeating flash* with D3 series)

repeating flash

Minimum recycling time Approx. 2.3 seconds Approx. 2.5 seconds Approx. 2.5 seconds Approx. 2.5 seconds

(manual at full) (with Ni-MH batteries) (with Ni-MH batteries) (with Nickel/Ni-MH batteries) (with Ni-MH batteries)

Number of flashes Approx. 110 Approx. 160 Approx. 200 Approx. 140

(manual at full) (with alkaline batteries) (with alkaline batteries) (with alkaline batteries) (with alkaline batteries)

Power source Four R6/AA-size batteries; SD-9; SK-6 Four R6/AA-size batteries Four R6/AA-size batteries Two R6/AA-size batterie

Dimensions (W x H x D) Approx. 78.0 x 146.0 x 118.5 mm Approx. 71.0 x 126.0 x 104.5 mm Approx. 68.0 x 123.5 x 90.0 mm Approx. 66.0 x 56.5 x 80.

Weight (without batteries) Approx. 415 g Approx. 360 g Approx. 300 g Approx. 127 g

Speciications

*When used a


9/12

The power o NEF

As a pioneer in RAW image fle development, Nikon has

incorporated its exclusive and highly versatile NEF (Nikon

Electronic Format) system into every D-SLR since the frst

D1. Consider NEF fles to be the link between your Nikon

camera and Nikons Capture NX 2 sotware. Each NEF image

you shoot contains a thumbnail image and your camera, lens

and Speedlight settings, which the sotware recognizes and

applies just as you did when you created the image. The

exclusive Capture NX 2 concept also ensures that the image

data in each fle remains intact: use NEF and you can always

return to the original images maximum possible quality. I

youve made changes to the image using the sotware, those

settings are also stored in the NEF, which is capable o hold-

ing countless versions o the same image. Creativity doesnt

end ater the shutter clicks. With NEF and Capture NX 2, it is

only beginning.

16-bit processing throughout or high-quality NEF

Photographers today utilize a variety o fle ormats, but

Nikons NEF oers capabilities ar beyond the reach o the

others. NEF fles give you an unprecedented level o versatile

and creative options. For example, thanks to 16-bit process-

ing, the incredible versatility o the NEF ormat and the power

o the Capture NX 2 sotware, you can reveal shadow detail

and enhance sharpness in ways unattainable with other

ormats. These fles can also be easily converted into JPEGs

and TIFFs or printing and publishing. Capture NX 2 also lets

you convert your TIFFs and JPEGs into NEF fles or added

creative choices without deteriorating image quality. Saving

these or even scanned prints as NEFs allows you to keep a

copy o your originals without needing to hold onto numerous

versions, which rees up valuable storage space.

One o the eatures that makes Capture NX 2 crucial sotware

or photographers is Nikons Color Control Points, which sim-

pliy image enhancement while enabling photographers with

unmatched image processing reedom. Instead o complicated

layering and memorization, with Capture NX 2 you simply

place a Color Control Point wherever you want to reprocess.

Using the Color Control Points slider controls, you can adjust

hue, saturation, brightness, contrast, red tone, green tone, blue

tone and image warmth. The selection can then be applied

within a designated area or the color you need. Simply click,

slide and adjust: a wonderully visual experience. This intuitive

system makes both subtle and radical changes possible in sec-

onds. You can also crat customized color wheels and preset

color settings to save extra time and eort. Compose a selec-

tion and change it at will, or make multiple settings with Color

Control Points and watch how the sotware responds to help

you achieve exactly what you want to see!

In addition to the sliders indicated a

there are sliders for Hue, Red, Green

and Warmth. You can choose to disp

(Default), HSB, RGB, or All mode, an

images to suit your purposes.

Color Control Points

Size

Brightness

Contrast

Saturation

Opacity slider (set up the degr

processing)

Size slider (select effective ar

Selection Control Points

16

This unction enables you to apply enhancements such as

Unsharp Mask or D-Lighting to a specifc area with just a

click o the mouse. There is no need or precision selection

or masks the Selection Control Point recognizes the areas

you want to modiy. Any enhancement eect you create

can easily be adjusted, and can be applied to either the

designated area or to everywhere outside that area, just like

with intuitive masking. The Selection Control Point can be

used with virtually any image enhancement tool, including

D-Lighting, Brightness, Color, Focus, Correction, and Noise

Reduction. For example, you can apply Unsharp Mask to

only the area you want to edit i you like.

Distracting blemishes and other imperections in your pictures

can be eectively removed without compromising the color

or integrity o your image. Simply click and drag over a spot

caused by dust on the cameras sensor, or example, and itdisappears. You can also make creative changes, such as

removing unwanted acial details or other distracting elements

in a picture. Its important to remember that just like color

enhancements, each retouching eect you enact here is also

non-destructive, giving you great reedom to pick and choose

retouching actions and determine exactly what is best or your

picture without worrying about spoiling the original.

Color Control Points or intuitive image enhancement

Selection Control Points or quick and easy image editing

Auto Retouch Brush

Dummy

NEF + Capture NX 2 Get thehighest quality from your images

Beore

Beore

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Ater

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Quick Fix selections

Click on the Quick Fix Header and a

selection o tools appear or ast frst

adjustments. With NEF fles you can:

alter contrast; adjust Exposure Com-

pensation with a 2 stop range; apply

protection to highlights and shadow

areas and modiy color saturation. All

ast. All without damaging the original

fle.

*Exposure compensation can be applied to RAW (NEF/

NRW) images only.

Camera Control Pro 2 (Full and Upgraded Edition)

for D3 series, D700, D300 series, D7000, D90, D5000

This remote shooting application sotware or studio and feld

shooting boasts advanced viewer eatures and supports the Live

View unction incorporated in the cameras. You can remotely

control virtually all unctions (exposure mode, shutter speed,

aperture, etc.) o other Nikon D-SLR cameras rom a computer

via USB connection. With an optional wireless transmitter and acompatible camera, a wireless LAN (Wi-Fi) or wired Ethernet con-

nection is possible.

Shooting data can be directly transerred to a computer to enable

remote shooting, transer and storage o image data and image

viewing in combination with ViewNX 2. Let a client sit and view

your images on a computer wirelessly while you are shooting, or

shoot a wedding while sending images to your computer where

an assistant quickly edits and displays the results or the guests.

Applications like these will make a lasting impression on viewers.

Image Authentication Sotware (or Windows)

for D3 series, D700, D300 series

Enables authentication o images captured using compatibl

Nikon D-SLR cameras, and determines whether or not such

images have been altered since capture by

separately comparing the image and

image data. Using authentication

inormation attached at the time ocapture, the sotware verifes that

image fles, including RAW (NEF),

JPEG, and TIFF fles, are identical to

the original captured images.

Edit List easy-to-operate multiple imageprocessing adjustments

Capture NX 2s interace oers a convenient edit list that

displays various image processing adjustments at the same

time, allowing you to make intuitive decisions about what

you want to apply. Because you can visually confrm the

eects as you work, the editing process becomes so much

smoother.

Camera Settings

When you take an original NEF rom

your Nikon D-SLR and open it in Cap-

ture NX 2, an additional header or

Camera Settings will appear. This

tool enables non-destructive changes

to the original NEF, such as adjust-

ments to White Balance, Picture

Control and Noise Reduction. This and

many other NEF and Capture NX 2

abilities realize control never beore

possible with image processing

sotware. That goes or compatibility

as well: NEF fles rom the frst Nikon

D-SLR models are still compatible with todays Nikon

Capture NX 2. That means the newest tools can be applied

to your oldest NEF fles. How could your early digital images

beneft rom the latest image processing technology?

Find out, courtesy o Capture NX 2.

Workspaces

Switch uidly between the our work-spaces provided: Browser, Metadata,

Multi-Purpose and Edit Workspac-

es can be saved in a palette layout or

reopening later. Various customizable

shortcuts are also available.

1Menu bar2Toolbar3Labeling and rating toolbar4Tool option bar5Folders6Metadata7Browser

8Image window9Birds eye!Edit List"Photo info

Other eatures

For more eicient worklow

18

Batch Processing

Preset editing inormation can be applied to all image data in a

selected older.

Vignette Control (Nikon D-SLR only)

Easily and visually minimize the appearance o vignetting in your

pictures by brightening the corners o the image. The tool can

both brighten and darken, allowing you to apply a vignette eect

where it didnt exist, or creative purposes.

Auto Color Aberration

Reduces lateral chromatic aberration throughout an entire image,

or superior overall quality.

Distortion Control

Reduces pincushion and barrel distortions that are sometimes

visible in images.

Noise Reduction

Color noise, edge noise, and color moir reduction uncti

reduce noise in details without degrading image quality.

Picture Control

I youre using a Nikon D-SLR model that incorporates Pic

Control settings, then Capture NX 2 can process your ima

incorporating all o your Picture Control adjustments. Pict

Control is an exclusive Nikon development that enables recontrol image characteristics such as tonal values, hue an

trast, as well as color spac e. Up to six dierent Picture Co

choices are available in-camera and comparable adjustme

those settings are possible rom within Capture NX 2. Cre

imaging styles and modiy them however you see ft. Eac

unique creative touch you make is non-destructive turn

on or o with a mouse click giving you room to experim

with the peace o mind that your images are being kept sa

their original state.

Windows

OS Pre-installed versions Microsoft Windows 7 Home Basic/Home Premium/Professional/Enterprise/Ultimate*, Windows Vista Home Basic/Home

Premium/Business/Enterprise/Ultimate (Service Pack 2)*, Windows XP

Professional/Home (Service Pack 3)**

* 32- and 64-bit versions are supported. However, with 64-bit versions, the

software operates as a 32-bit application.** Only the 32-bit versions of Windows XP are supported.

CPU Pentium 4 or betterRAM 768 MB minimum, 1 GB or more recommendedHard-disk space 200 MB required for installationMonitor resolution 1024768 pixels or higher (12801024 or higher recommended) with 16-bit

color or more (32-bit color recommended)

Macintosh

OS Mac OS X (version 10.4.11, 10.5.8, 10.6.4)CPU Power PC G4/G5; Intel Core series/Xeon seriesRAM 768 MB minimum, 1 GB or more recommendedHard-disk space 200 MB required for installationMonitor resolution 1024768 pixels or higher (12801024 or higher r ecommended) wit

colors or more (16.7 million colors or more recommended)

Others (Windows/Macintosh)

CD-ROM drive required for installation

Internet connection required to utilize Nikon Message Center 2

Environment for recognizing operation-guaranteed memory cards required to import/eCustom Picture Controls

For details on system requirements and compatible functions, see the instruction manua

Capture NX 2 system requirements

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Multi-Power Battery Pack+Added ReliabilityMore power and speed when you need it

Multi-Power Battery Pack MB-D10

for D700, D300 series

Runs on one EN-EL3e, one EN-EL4a (Battery

Chamber Cover BL-3 required) or eight R6/

AA-size alkaline/lithium/Ni-MH/nickel-

manganese batteries. Features two command

dials, shutter release button and AF start button

for vertical shooting. Enhanced sealing system

helps diminish penetration by dust and moisture.


for D7000

Runs on either one EN-EL15 battery or six R6/

AA-size alkaline/Ni-MH/lithium batteries to

provide added stability with extended shooting

potential. Magnesium alloy employed for exterior

cover durability.


for D90

Provides extra command dials, shutter release

button and AE-L/AF-L button for vertical shoot-

ing. Runs on one or two EN-EL3e rechargeable

batteries, or six R6/AA-size batteries.

These rechargeable batteries provide extended life and consistent power, even in colder conditions. Used together with your Nikon D-SLR, the cameras fuel gauge accurately displaysthe remaining charge and number of shots since the last charging. The EN-EL4a even gives notice when calibration is necessary.

Rechargeable Li-ionBattery EN-EL4a

for D3 series

Rechargeable Li-ionBattery EN-EL3e

for D700, D300 series, D90

Rechargeable Li-ionBattery EN-EL9

for D5000, D3000

Rechargeable Li-ionBattery EN-EL9a

for D5000, D3000

Quick Charger MH-21

for D3 series

Quick Charger MH-22

for D3 series

Quick Charger MH-18a

for D700, D300 series, D90

Enables charging ofRechargeable Li-ion BatteryEN-EL3e.

Quick Charger MH-23

for D5000, D3000

Enables charging ofRechargeable Li-ion BatteryEN-EL9a and EN-EL9.

GP-1+Your LocationRecord your images latitude, longitude, altitude and time inormation

Wireless Transmitter WT-3/3

for D200

Wireless Transmitter WT-3/3A data transfer via wireless LAN Simply mount one on the bottomcamera and connect via USB cacaptured data can be transferrespeed. And since they support vwork and security protocols, theters are compatible with a widesystem environments. Data trana wired LAN via Ethernet netwopossible.

GPS Cable MC-35

for D3 series, D700, D300 series

To be connected to NMEA-O183 protocol-compatible GPS (Global Positioning System)units such as GARMIN and MAGELLANfor recording GPS positioning information

and time signals synchronous to UTC(Universal Coordinated Time) within imagedata files during shooting.

GPS Unit GP-1

for D3 series, D700, D300 serieD90, D5000, D3100

With the GP-1 connected to a csupports GPS, you can record lmation such as latitude, longitand UTC (Universal Coordinate

each images EXIF data. The unmounted on the cameras accesthe camera strap.

Wireless Transmitter WT-4A/B/C/D/E*1

for D3 series, D700, D300 series, D7000

The WT-4A/B/C/D/E supports wireless LANconforming to IEEE 802.11b/g, IEEE 802.11a,and wired LAN conforming to IEEE 802.3u(100BASE-TX) and IEEE 802.3 (10BASE-T).Transmission range when wireless LAN isused is approx. 180 m (IEEE 802.11b/g) or260 m (IEEE 802.11a). Thumbnail Selectmode permits thumbnail display of imagestaken with up to five wirelessly connectedcameras on a computer display. Imagesselected by confirming the thumbnail can bedownloaded and saved on the computer.

20


for D3100


for D7000

Battery Charger MH-24

for D3100

Enables charging ofRechargeable Li-ion BatteryEN-EL14.

Battery Charger MH-25

for D7000

Enables charging ofRechargeable Li-ion BatteryEN-EL15.

Enables charging of Rechargeable Li-ion Battery EN-EL4a.

*1Productnamevariesaccordingto region,dependingonlocalfrequencyc*2Conformingto theIEEE802.11b/gstandard

WT-4+Stadium AssignmentsGreater worklow speed when time and distance are crucial


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Neutral Color NC FiltersThese filters serve as lens protectors and do not affectcolor balance. Multilayer coating diminishes internalreflections and improves color rendition. Available insizes 52/58/62/67/72/77 mm.

Circular Polarizing Filters IIThese filters enable shooting through glass windowsand minimize glare from reflective surfaces such aswater and glass. They also enhance the appearance ofblue skies. Compatible with both color and monochromephotography. Available in sizes 52/58/62/67/72/77 mm.

Sot Focus FiltersGive your images a moderately soft and beautiful blureffect. Good for various shooting situations, such asportrait. Available in sizes 52/62/67/72/77 mm.

Slip-in Circular Polarizing FiltersDesigned for use with telephoto lensesthat provide a slip-in filter holder, thesefilters reduce glare from non-metallicsurfaces such as glass and water. Simplyturn the rotating ring on the holder to findthe most effective position. These filters do not affectautofocus or auto exposure operation. Both the C-PL1Land C-PL3L feature a diameter of 52 mm.

Gelatin Filter Holders AF-3, AF-4These holders accommodate gelatin or glass filters toa thickness of approx. 2 mm. The AF-3 is used with3-inch square gelatin filters and NIKKOR lenses havingan attachment size of 52/62/67/72/77 mm. The AF-4 isused with 4-inch square gelatin filters and NIKKORlenses having an attachment size of52/62/67/72/77/82/95 mm. Nikon also offerstwo dedicated hood options theHN-36 for the AF-3 and the HN-37 forthe AF-4. Several hoods of the samediameter can be stacked, dependingon the focal length of the lens in use.

Slip-in Circular Polarizing Filterscompatible lenses

C-PL1L C-PL3L

AF-S 200mm f/2G ED VR II

AF-S VR 200mm f/2G IF-ED

AF-S 300mm f/2.8G ED VR II

AF-S VR 300mm f/2.8G IF-ED

AF-S 400mm f/2.8G ED VR

AF-S 400mm f/2.8D IF-ED II

AF-S 500mm f/4G ED VR

AF-S 500mm f/4D IF-ED II

AF-S 600mm f/4G ED VR

AF-S 600mm f/4D IF-ED II

AF-S 200-400mm f/4G ED VR II

AF-S VR 200-400mm f/4G IF-ED

: Compatible : Incompatible

Adapter CordMC-25 (0.2 m)

for D3 series, D700,D300 series

Enables use of two-pinremote accessories: RemoteCord MC-4A, Remote CordMC-12B, and TerminalRelease MR-3.

Remote CordMC-DC2 (1 m)

for D7000, D90, D5000,D3100, GP-1

Enables remote firing.

Remote CordMC-DC1 (1 m)

for D80, D70S

Enables remote firing.

Wireless Remote ControlML-L3

for D7000, D90, D5000,D3000

Enables wireless remoteshutter release.

EyepieceMagniier DG-2

for D3 series, D700,D300 series, D7000, D90,D3100, D3000

The DG-2 provides 2xmagnification of the cen-tral area of the finderimage. Eyesight adjust-ment provided. Useful forcritical focusing in close-up photography. Requiresan eyepiece adapter.

Eyepiece AdapterDK-18, DK-22

Enables attachment ofEyepiece Magnifier DG-2to the cameras eyepiece.The DK-18 is for cameraswith a circular eyepiece.The DK-22 is for cameraswith a rectangular eye-piece.

Magniying EyepieceDK-17M

for D3 series, D700

Attached to a camera,the DK-17M magnifiesthe finder image approx.1.2x. Diopter adjustmentrange is widened at boththe (+) and (-) sides.

Magniying EyepieceDK-21M

for D300 series, D7000,D90

The DK-21M magnifiesthe finder image byapprox. 1.17x.

Eyepiece CLenses (-5DK-20C

for D300 seD90, D5000D3000

An easy-toand focusinallows neasighted phto view theaccurately ing eyeglas

Eyepiece CorrectionLenses DK-17C

for D3 series, D700

Five correction lensesfrom 3 to +2 m-1 forcircular-eyepiececameras.

Antiog FinderEyepiece DK-17A

for D3 series, D700

A transparent plasticoptical element with aspecial surface coatingto reduce fogging.

Rubber Eyecup DK-19

for D3 series, D700

Rubber Eyecup DK-20

for D3100, D3000

Rubber Eyecup DK-21

for D7000 and D90

Rubber Eyecup DK-23

for D300 series

Rubber Ey

for D5000

Viewing Attachment+Your PerspectiveView with clarity and comort

Right-Angle Viewing AttachmentDR-5/DR-6

DR-5: for D3 series, D700

DR-6: for D300 series, D7000, D90, D3100, D3000

Provides an upright, un-reversed image for right-angle viewing. Excellent for copy stand work orwhen taking pictures close to the ground oraround a corner. Individual eyesight adjustmentsare possible. The DR-5/DR-6 allows you to set thereproduction ratio to either 1:1 or 1:2.

Close-up AccessoriesClose in on every subject

Extension BellowsPB-6E

Attaches to the PB-6 foran astounding magnifica-tion of 23x life-size whenusing a 20mm wide-anglelens in reverse position.With this combination,the continuously variableextension range is from83 mm to 438 mm.

Slide Copying AdapterPS-6

Used with the PB-6 and aNIKKOR lens to makeduplicate slides. Croppingof the original slide ispossible.

Macro Copy StandPB-6M

Attaches to the end ofthe PB-6 to convert it intoa smaller stand ideal forcopying documents or foruse in scientific andmedical specimenphotography.

Macro Adapter RingBR-2A*

Enables reverse-mounting of lenses. TheBR-2A also increasesthe working distancefor normal or wide-angle lenses.Compatible with lenseshaving a 52 mm-sizedfront attachment.

Adapter RingBR-3*

A handy adapter thatconverts the bayonetmount of reversemounted lenses to the52 mm thread used forfilters and hoods.

Auto Extension RingsPK-11A*/PK-12*/PK-13*

Use one or multiple extension rings fcreative capabilities. An AI NIKKOR wautomatic diaphragm and meter couptions, letting you compose, focus andwide-open apertures. The rings can afor manual exposure control (Exposudoes not work with D90, D5000, D31D3000).

PK-11A PK-12

Type E

for D3 series

Features grid patterns ideal forcopying and architectural pho-tography.

Type B

for D3 series

Offers unobstructed viewingand easy focusing over theentire matte surface. Good forall general photography.

Interchangeable Focusing Screens

22

* G-type lenses cannot be used.

Remote CordMC-36 (0.85 m)


Enables remote firing of a

camera, and setting of inter-val timer and long time expo-sure. Incorporates an illumi-nated LCD panel.

Remote CordMC-30 (0.8 m)


Allows remote firing of a

camera with trigger-lockfunction by keeping the shut-ter release button depressed useful for bulb shooting.

Remote CordMC-22 (1 m)


Useful for making connec-

tions to a shutter-triggeringdevice, such as those acti-vated by an infrared sensorto take pictures of wildlifeafter dark.

Extension CordMC-21 (3 m)


For use with MC-30 or

MC-22.

Connecting CordMC-23 (0.4 m)


Connects two cameras for

simultaneous or synchronizedshutter release.

Modulite Remote ControlSet ML-3


The ML-3 offers remote

control of two separatechannels via an infrared LEDbeam to enable automaticcamera operation from adistance of up to 8 m.Features include auto-trig-gering and delayed shutterrelease, as well as singleand continuous shooting.

Remote Cord + Long ExposureGetting the most out o steady tripod shooting

Filters

Improves viewing comfort and prevents stray light from entering the viewfinder and diminishing contrast.

for D300

series, D7000,

D90, D3100,

D3000

for D3 series,

D700

DK-18 DK-22

AF-3 AF-4

nikon total digital imaging system

Documents