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網上商店,手飾店,書店,戒指,耳環,手鍊,頸鍊,節日,玩具, Online-shop, book shop, ring, toys rings, earrings, pendants, bracelets and necklaces
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flash
AA模式：
以空間中平均反射光量(三維)來判斷光線截斷時間，
若是遇到大背景、小主體時則以【最近主體反射】為判斷依據，
頗適合廣角大畫面、中距離主體+大背景、跳燈加格時運用，
但是在長焦鏡運用時會失準(因為電眼判斷角度有限)。
⋯⋯
●A模式：
SB800等閃燈之【高反差淺景深】隱藏密技，
迫使D70等電子式快門機，在正常拍攝情況下，
使用超過1/1000s-1/8000閃燈同步快門，
適用於海邊、棚內需要大光圈淺景深人像攝影時，
把單點觸發以外之感應點封住即可，
記得減一格。
TTL+BL模式：
目前此法個人放棄不用，
因為立體空間中加入【複雜背景曝光資訊】，
高反差下常令【前主體曝光結果大幅震盪】，
若有高角、低反差、拍單近景才有用。
⋯⋯
●TTL模式：
以整體平面畫面(二維)平均值來判斷，並對前主體作加權，
個人覺得較符合光線在拍攝空間中行進的原理，
目前較常用此模式，但若遇到【背景面積】大於主體時會誤判，
(AA模式解決)。
人們使用無線閃光攝影技術
人們使用無線閃光攝影技術
湯姆 Bol的不只是人們發現，他們在那裡所有的時間。 這只是說，他最近開始把它們放在聚光燈下。在很長一段時間他的攝影是關於景觀和戶外活動。然後，他開始參與冒險運動既是一個攝影師和指導，而這一點，當人們變得更有趣。然後沿著來無線閃存技術，突然得到了一大堆的人更容易拍攝。
It's just that he's recently started to put them in the spotlight.For a long time his photography was about landscapes and the great outdoors. Then he became involved with adventure sports as both a photographer and a guide, and that's when people became a little more interesting. Then along came wireless flash technology and suddenly people got a whole lot easier to photograph.
Tom admits to being intimidated by flash photography back in the days when it seemed to be all about numbers, formulas and flash meters.湯姆承認被嚇倒早在閃光攝影時，它的日子似乎是所有關於數字，公式和閃光米。 That's all changed: "Now I've got an LCD on my camera and wireless control of my flash units," he says, "and it's let's go explore that."這一切都變了：“現在我有一個對我的相機和液晶無線控制我的閃光燈，”他說，“這讓我們去探索的。” With the SU-800 Wireless Speedlight Commander and his SB-800 and SB-900 Speedlights, people are no problem.隨著SU - 800無線閃光燈指揮官和他的SB - 800和SB - 900的閃光燈，人們都沒有問題。 "You can put the flash units where you want them and then stand at the camera and control the output of your flashes." “你可以把閃光燈需要的位置，然後站在攝像機和控制輸出你的閃爍。” In addition, Tom says that a final piece of the puzzle fell into place thanks to the wide selection of accessories that work so well with Nikon Speedlights, from the color gels and the diffusion dome supplied with every SB-800 and SB-900 to the variety of soft boxes (for additional light diffusion) and snoots (for precise focusing of the light) offered by other companies.此外，湯姆說，最後一塊拼圖陷入地方要歸功於廣泛選擇的配件工作，以及與尼康閃光燈，從顏色凝膠和擴散提供的每一個球的SB - 800和SB - 900到各種軟盒（用於額外的光擴散）和snoots（精確聚焦的光）提供的其他公司。
Just about the time Tom started to pick up on the possibilities of flash for people and other outdoor subjects, participants in his workshops began requesting more information on the subject.湯姆只是時間上開始回升的可能性為人們的閃存和其他戶外主題，與會者在研討會開始要求更多的信息，關於這個問題的。 "Time and again I'd be conducting a landscape workshop and people would be asking, 'What about adding a little bit of flash to this flower?'" “一次又一次，我會進行景觀車間，人們會問，'什麼有關添加一點點的閃爍，這花？”
Soon people pictures became an important part of Tom's work—for stock images, for commercial assignments and to illustrate magazine and web articles.不久，人們的照片成為一個重要的組成部分湯姆的工作，為商業圖片，為商業任務，並說明雜誌和網絡文章。 Which opened up a whole new area of creativity for him: namely, the ideas and the settings for his people shots, which are light years beyond the standard "go pose by the cactus" shot.開闢了一個全新的領域為他的創意：即思想和他的人民的設置拍攝，這是光年以外的標準“去構成了仙人掌”出手。
The ideas come from everywhere.來自世界各地的想法。 "We went to a junkyard," Tom says of the first photo you see here, "and talked the owner into letting us shoot there. We had a friend who had the James Dean, white T-shirt thing going, and then I saw that great sky and thought, I'll shoot the whole scene with an incandescent white balance favoring a cool blue tone, then put warming gels on the lights to warm up the subject and the immediate area. Then the guy asks, "Do you mind if I smoke?' “我們去了一個垃圾場，”湯姆說，第一張照片，你看到這裡，“與主人交談，讓我們到那裡拍攝。我們有一個朋友誰的詹姆斯迪恩，白色T卹的東西去，然後我看到這個偉大的天空和思想，我就開槍了整個場景與白熾燈白平衡利於酷藍色基調，然後將凝膠上的燈暖升溫的主體和附近地區。然後男人問：“你介意我抽煙嗎？' Perfect!"太棒了！“
And once he started dreaming up ideas, it was hard to turn it off.還有一次，他就開始夢想的想法，也很難將其關閉。 The cemetery shot, for example, came from the location.該墓地拍攝，例如，來自的位置。 "It's near my home in Ft. Collins [Colorado]," Tom says, "and I've driven by a zillion times. I used to run through there on long runs, and one day it was foggy and misty and I thought, there's a shot that has to be done here. I thought, a woman, with a flower, visiting someone." “這是我家附近的Ft。柯林斯[科羅拉多州]，”湯姆說，“我擦肩而過無數次。我曾經穿過那裡長期運行，有一天，霧朦朧，我想，有一個鏡頭是要在這裡完成。我想，一個女人，一朵花，參觀的人。“ Once again, he used the cool white balance/warming gel technique.再次，他用涼白平衡/變暖凝膠技術。 "To really compress the tombstones I had to use a long lens—the 200-400mm [AF-S VR Zoom-NIKKOR 200-400mm f/4G IF-ED] at 400mm." “要真正壓縮的墓碑，我不得不用長鏡頭的200 - 400mm的 [的AF - S VR變焦尼克爾200 - 400mm的f/4G IF - ED鏡頭]在400毫米。“
Sometimes the ideas, and the locations, come from the models.有時的想法，和地點，來自模型。 The tango dancers, for instance.探戈舞者，例如。 "The trick was the location," Tom says. “技巧是位置，”湯姆說。 "Buenos Aires is a very busy city, but we ran into this couple in a plaza—they were the real thing, real tango dancers, and they knew of a blocked-off road, and it was a beautiful cobblestone street. We walked over at twilight, got the shots and got out of there. They wanted shots for their portfolio, so it worked out beautifully." “布宜諾斯艾利斯是一個非常繁忙的城市，但我們遇到了這對情侶在廣場，他們是實實在在的東西，真正的探戈舞者，他們知道被封鎖過的道路，這是一個美麗的鵝卵石街道。我們走了過來黃昏，得到了拍攝和離開了那裡。他們希望他們的鏡頭組合，所以它的工作做出來很漂亮。“
All but four of the photos here were done with SB-800s and SB-900s; the exceptions demanded the power and recycle speed of location strobes.除四個這裡的照片進行了配合SB - 800和SB - 900;的例外要求回收的力量和速度的位置選通。 For the majority of his work these days, though, Tom says "you can't beat the simplicity and portability of those SB flash units."對於大多數人來說這幾天，他的工作，不過，湯姆說：“你不能打的簡單性和可移植性這些保安局閃光燈。”
Combining flash technology with people as his subject matter has opened up a whole new area of possibilities for Tom.閃存技術相結合作為他與人題材開闢了一個全新的領域的可能性湯姆。 "I can be dramatic with lighting, or playful, or just experiment and dream up ideas. I can be mysterious or puzzling...or anything I want. Light makes it all work." “我可以戲劇性的照明，或嬉戲，或只是實驗和夢想的想法。我可以神秘或令人費解 ...或任何我想要的。光讓這一切工作。”
Tom Bol's website features a variety of his images of people, places and outdoor adventures as well as complete information on his photography workshops.湯姆Bol的網站功能多樣，他形象的人，地方和戶外探險活動，以及完整的資料，他的攝影講習班。
Interested in learning more about how color temperature and warming gels can set the mood of a photo?有興趣學習更多有關如何色溫和升溫凝膠可以設置照片的心情？ Dave Black has an informative Nikon World column all about it right here.戴夫黑棋一列中的所有信息世界尼康關於它的權利在這裡。
設置白平衡
設置白平衡 Beginner Content
In the Degrees Kelvin setting the water is white, which is how it actually appeared.設置在開氏度的水是白色的，這是他實際上是怎樣出現。
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Actually, setting your camera's white balance is the easy part.其實，設置相機的白平衡是容易的部分。 What's a little trickier is understanding why you should make a particular setting.什麼是有點棘手的是理解為什麼你應該做一個特定的設置。
The color of an object is affected by the lighting conditions under which it is viewed.一個物體的顏色是受光照條件下，它被認為是。 Our eyes and our brain compensate for different types of light—that's why a white object appears white to us whether it's viewed in sunlight, under overcast skies or indoors under incandescent or fluorescent light.我們的眼睛和大腦的補償不同類型的光，這就是為什麼會出現一個白色物體白給我們無論是在陽光下看，在陰天或室內白熾燈或熒光燈下。 But digital cameras need help to emulate this process, to compensate for different types of lighting and render a white object white.但數碼相機需要幫助來模擬這一過程，以彌補不同類型的燈光和渲染一個白色物體的白色。
The white balance setting is that help.白平衡設置是幫助。
We can simply set auto white balance and the camera will read the scene's color temperature (basically the hue and intensity of a particular light source, measured in degrees Kelvin) and choose a setting from its collection of pre-programmed adjustments.我們可以簡單地設定自動白平衡，相機會讀場景的色溫（基本色調和強度的特定光源，測量在開氏度），並選擇設置其收集的預編程的調整。 That's a good solution when a scene's lighting is pretty much all of one type and there's a prominent white or neutral subject in the scene.這是一個很好的解決方案時，現場的燈光幾乎所有的同一類型和存在的一個突出的白色或中性的話題，在現場。
In most cases, though, accurate color rendition is going to call for a manual white balance setting.在大多數情況下，雖然，準確的色彩還原是要去拜訪了手動白平衡設置。 Those settings choices are incandescent, fluorescent, flash, cloudy, open shade, sunny, Kelvin color temperature and PRE.這些設置的選擇是白熾燈，熒光燈，閃光燈，陰天，戶外陰影，陽光明媚，開爾文色溫和PRE。
The Incandescent setting is best for traditional household bulbs; Fluorescent will prevent the green cast common to photos taken in fluorescent light; Cloudy will add a bit of warmth to the light; Flash adds a more aggressive touch of warmth to take the edge off the bright light of a flash; Open Shade adds a slight pink tone to eliminate the blue cast that shadows take on in open shade; and Sunny sets the color temperature to 5000 degrees Kelvin, which is typical of mid-day sun.白熾燈設置傳統的家庭是最好的燈泡;綠色熒光將防止演員共同拍攝的照片在熒光燈;多雲將增添幾分溫暖的光線閃光增添了一抹溫暖更積極採取了明亮的邊緣光的閃爍;戶外陰影增加了一個輕微的粉色調，以消除陰影的藍色投下的陰影採取公開和陽光的色溫設置為 5000開氏度，這是典型的中午的太陽。
Then there's the Kelvin Color Temperature setting.還有的開爾文色溫設置。 It's a do-it-yourself choice, in which you actually set the degrees Kelvin to affect how the camera will see and render the hue and intensity of colors in the scene.這是一個做自己動手的選擇，在其中您實際設置開氏度，影響相機如何將看到和呈現顏色的色調和強度在現場。 Using the Kelvin setting you can fine tune those colors to your definition of "accurate," or skew the colors to reflect your choice of the scene's mood and feeling.利用開爾文設置，您可以微調的顏色你的定義的“準確”或歪斜的顏色，以反映您所選擇的場景的情緒和感覺。 And when you turn on your Nikon camera's Live View, you will see in real time the result of your specific Kelvin color temperature choices.當您打開您的尼康相機的實時顯示，你會看到實時的結果您的具體開爾文色溫選擇。
Finally, you can choose PRE, the so-called "white card" setting.最後，您可以選擇前，所謂的“白卡”設置。 With that option selected, hold a white card in front of the lens and press the shutter button.與該選項選擇，持有白卡在前面的鏡頭，按下快門按鈕。 The camera will read and lock in the color temperature of the light reflected from that card, and that locked-in reading now becomes the standard for the camera's white balance setting.相機會鎖定在閱讀和色溫的光線反射該卡，並鎖定在閱讀現在成為標準的相機的白平衡設置。 PRE is an ideal way to handle a scene that presents mixed lighting—fluorescent lights in the ceiling and daylight streaming through a window, for example—because it takes into account all the lighting in the scene.預是一種理想的方式來處理的場景，呈現混合照明，熒光燈在天花板和日光流通過一個窗口，例如，因為它考慮到所有的燈光在場景中。 (The locked-in setting is maintained in PRE until you take another white card reading.) （該鎖定的設置是保存在預，直到你把另一個白卡閱讀。）
No matter how you set your white balance, check the results of your choices on the camera's LCD and adjust according to your preference.無論您如何設置您的白平衡，檢查的結果你的選擇在相機的LCD和根據自己的喜好調整。 Often your choice will depend on the look, feel and mood you want for your picture.通常你的選擇將取決於外觀，感覺和情緒，你想為你的照片。 And remember, Live View will show you the effect of your choice before you take the photo.請記住，現場查看將向您展示您所選擇的效果，然後再進行拍攝。
設置在開氏度（左）水是白色的，這是他實際上是怎樣出現。 The Auto White Balance setting (right) did a good job, but it didn't accurately depict the white water.自動白平衡設置（右）幹得不錯，但它並不能準確地描繪了白色的水。 The selected Kelvin temperature was 4435, and turning on Live View enabled photographer Lindsay Silverman to see the results as he selected different Kelvin settings.選定的開爾文溫度為 4435，並打開實時顯示啟用攝影師林賽西爾弗曼看到的結果，因為他選擇不同的開爾文的設置
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Nikon Technology 尼康技術
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Fundamentals of Photography 基礎攝影
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Nikon School & Workshops 尼康學校及工作坊
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Photography Glossary 攝影術語
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1. Setting White Balance
Setting White Balance設置白平衡 Beginner Content
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© Lindsay Silverman ©林賽西爾弗曼
In the Degrees Kelvin setting the water is white, which is how it actually appeared.設置在開氏度的水是白色的，這是他實際上是怎樣出現。
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* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
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Actually, setting your camera's white balance is the easy part.其實，設置相機的白平衡是容易的部分。 What's a little trickier is understanding why you should make a particular setting.什麼是有點棘手的是理解為什麼你應該做一個特定的設置。
The color of an object is affected by the lighting conditions under which it is viewed.一個物體的顏色是受光照條件下，它被認為是。 Our eyes and our brain compensate for different types of light—that's why a white object appears white to us whether it's viewed in sunlight, under overcast skies or indoors under incandescent or fluorescent light.我們的眼睛和大腦的補償不同類型的光，這就是為什麼會出現一個白色物體白給我們無論是在陽光下看，在陰天或室內白熾燈或熒光燈下。 But digital cameras need help to emulate this process, to compensate for different types of lighting and render a white object white.但數碼相機需要幫助來模擬這一過程，以彌補不同類型的燈光和渲染一個白色物體的白色。
The white balance setting is that help.白平衡設置是幫助。
We can simply set auto white balance and the camera will read the scene's color temperature (basically the hue and intensity of a particular light source, measured in degrees Kelvin) and choose a setting from its collection of pre-programmed adjustments.我們可以簡單地設定自動白平衡，相機會讀場景的色溫（基本色調和強度的特定光源，測量在開氏度），並選擇設置其收集的預編程的調整。 That's a good solution when a scene's lighting is pretty much all of one type and there's a prominent white or neutral subject in the scene.這是一個很好的解決方案時，現場的燈光幾乎所有的同一類型和存在的一個突出的白色或中性的話題，在現場。
In most cases, though, accurate color rendition is going to call for a manual white balance setting.在大多數情況下，雖然，準確的色彩還原是要去拜訪了手動白平衡設置。 Those settings choices are incandescent, fluorescent, flash, cloudy, open shade, sunny, Kelvin color temperature and PRE.這些設置的選擇是白熾燈，熒光燈，閃光燈，陰天，戶外陰影，陽光明媚，開爾文色溫和PRE。
The Incandescent setting is best for traditional household bulbs; Fluorescent will prevent the green cast common to photos taken in fluorescent light; Cloudy will add a bit of warmth to the light; Flash adds a more aggressive touch of warmth to take the edge off the bright light of a flash; Open Shade adds a slight pink tone to eliminate the blue cast that shadows take on in open shade; and Sunny sets the color temperature to 5000 degrees Kelvin, which is typical of mid-day sun.白熾燈設置傳統的家庭是最好的燈泡;綠色熒光將防止演員共同拍攝的照片在熒光燈;多雲將增添幾分溫暖的光線閃光增添了一抹溫暖更積極採取了明亮的邊緣光的閃爍;戶外陰影增加了一個輕微的粉色調，以消除陰影的藍色投下的陰影採取公開和陽光的色溫設置為 5000開氏度，這是典型的中午的太陽。
Then there's the Kelvin Color Temperature setting.還有的開爾文色溫設置。 It's a do-it-yourself choice, in which you actually set the degrees Kelvin to affect how the camera will see and render the hue and intensity of colors in the scene.這是一個做自己動手的選擇，在其中您實際設置開氏度，影響相機如何將看到和呈現顏色的色調和強度在現場。 Using the Kelvin setting you can fine tune those colors to your definition of "accurate," or skew the colors to reflect your choice of the scene's mood and feeling.利用開爾文設置，您可以微調的顏色你的定義的“準確”或歪斜的顏色，以反映您所選擇的場景的情緒和感覺。 And when you turn on your Nikon camera's Live View, you will see in real time the result of your specific Kelvin color temperature choices.當您打開您的尼康相機的實時顯示，你會看到實時的結果您的具體開爾文色溫選擇。
Finally, you can choose PRE, the so-called "white card" setting.最後，您可以選擇前，所謂的“白卡”設置。 With that option selected, hold a white card in front of the lens and press the shutter button.與該選項選擇，持有白卡在前面的鏡頭，按下快門按鈕。 The camera will read and lock in the color temperature of the light reflected from that card, and that locked-in reading now becomes the standard for the camera's white balance setting.相機會鎖定在閱讀和色溫的光線反射該卡，並鎖定在閱讀現在成為標準的相機的白平衡設置。 PRE is an ideal way to handle a scene that presents mixed lighting—fluorescent lights in the ceiling and daylight streaming through a window, for example—because it takes into account all the lighting in the scene.預是一種理想的方式來處理的場景，呈現混合照明，熒光燈在天花板和日光流通過一個窗口，例如，因為它考慮到所有的燈光在場景中。 (The locked-in setting is maintained in PRE until you take another white card reading.) （該鎖定的設置是保存在預，直到你把另一個白卡閱讀。）
No matter how you set your white balance, check the results of your choices on the camera's LCD and adjust according to your preference.無論您如何設置您的白平衡，檢查的結果你的選擇在相機的LCD和根據自己的喜好調整。 Often your choice will depend on the look, feel and mood you want for your picture.通常你的選擇將取決於外觀，感覺和情緒，你想為你的照片。 And remember, Live View will show you the effect of your choice before you take the photo.請記住，現場查看將向您展示您所選擇的效果，然後再進行拍攝。
In the Degrees Kelvin setting (left) the water is white, which is how it actually appeared.設置在開氏度（左）水是白色的，這是他實際上是怎樣出現。 The Auto White Balance setting (right) did a good job, but it didn't accurately depict the white water.自動白平衡設置（右）幹得不錯，但它並不能準確地描繪了白色的水。 The selected Kelvin temperature was 4435, and turning on Live View enabled photographer Lindsay Silverman to see the results as he selected different Kelvin settings.選定的開爾文溫度為 4435，並打開實時顯示啟用攝影師林賽西爾弗曼看到的結果，因為他選擇不同的開爾文的設置。
These photos were made using an SB-800 Speedlight.利用這些照片進行了一個 SB - 800閃光燈。 Flash White Balance (left) does a better job of depicting the scene than Auto White Balance (right), which had trouble with the fluorescent and other lights in the scene.閃光燈白平衡（左）做了更好的工作場景的描繪比自動白平衡（右），該問題與熒光燈等在現場。
The Cloudy White Balance setting (left) warms the hands but doesn't produce the bright white of Auto White Balance.陰天白平衡設置（左）溫暖的手，但不會產生明亮的白色自動白平衡。
Open Shade White Balance (left) gives the scene more warmth, but Auto White Balance (right) results in whiter whites.戶外陰影白平衡（左）為現場更溫馨，但自動白平衡（右）的結果在白的更白。
Auto White Balance (right) warms up the ship's interior, which was lit by incandescent light, but the Incandescent setting (left) captures all the tones as they really were, adding a feeling of depth to the scene.自動白平衡（右）預熱船舶的內部，這是點燃的白熾燈，但白熾燈設定（左）捕獲所有的音調，因為他們真的是，增加了感覺深入到現場。
Auto White Balance (rigth) can't correct for the fluorescent illumination.自動白平衡（rigth）不能正確的日光燈照明。 Fluorescent White Balance (left) is designed for exactly this kind of scene.熒光白平衡（左）是專為正是這種景象。 Note the difference not only in the vegetables, but also in the white of the cloth.請注意區別不僅在蔬菜，而且在白色的布。
Auto White Balance (right) produced a pleasing, balanced image, but the PRE (or white card) photo (left) is warmer, with whiter whites and an overall faithful rendition of the scene's colors.自動白平衡（右）製作了一個美觀，均衡的形象，但前（或白卡）照片（左）是溫暖，與白的更白和總體忠實再現了場景的顏色。 The white card reading balanced the scene's mixed lighting quite well.白卡閱讀均衡場景的混合照明非常好。
