Active D-Lighting

(User’s Manual: Page 129, Reference Manual: Page 179)

Active D-Lighting is used to help control contrast in your images. Often, the range of light within a scene is broader than your camera’s sensor can fully capture.

Although the Z7 has excellent dynamic range, it is still possible for the range of light in some situations to exceed the range of the sensor’s light-capturing capability. Or, you may just want to have less image contrast.

The Z7 allows you to “D-Light” the image, bringing out additional shadow detail, or in other words, lower the image contrast. This extends the dynamic range by opening up the shadows and protecting the highlights. One of the downsides of using Active D-Lighting could be additional noise in shadow details. The Z7 has excellent noise control, though, so this is less of a problem than with older cameras. Active D-Lighting has these six levels:

• Auto (A)
• Extra high (H*)
• High (H)
• Normal (N)
• Low (L)
• Off (no Active D-Lighting)

Figure 7.14A: Choosing an Active D-Lighting level

Here are the steps to select an Active D-Lighting level:

1. 1. Choose Active D-Lighting from the Photo Shooting Menu and scroll to the right (figure 7.14A, image 1).
2. 2. Select one of the Active D-Lighting levels (figure 7.14A, image 2), or select Off, and press the OK button or tap the option to save your setting. Refer to figure 7.14C to see how each level affects the image.

Additionally, you can open the Active D-Lighting menu without using the Photo Shooting Menu directly. Instead, you can press the i button and select it from the Quick Menu screen (figure 7.14B).

Figure 7.14B: Opening Active D-Lighting from the i Menu screen

Use these steps to change Active D-Lighting quickly:

1. 1. Press the i button once (figure 7.14B, image 1), which will cause the i Menu screen to appear. Scroll to the Active D-Lighting position and press the OK button or tap on the Active D-Lighting symbol. This will open the secondary screen (figure 7.14B, image 2).
2. 2. Choose the setting you want to use and press or touch OK to save the setting (figure 7.14B, image 2).

Now let’s take a look at how Active D-Lighting affects a series of images (figure 7.14C).

Figure 7.14C: Active D-Lighting samples

Basically, Active D-Lighting will help bring out detail in areas of your image that are hidden in shadow due to excessive image contrast. It also tends to protect the highlights from blowing out (becoming pure white with no detail). Figure 7.14C shows a series of six images with Active D-Lighting set to its various levels. I chose a rosebush scene with heavy shadow and bright highlights (heavy contrast) to see how these six settings performed.

Notice how the Active D-lighting system tends to progressively open the shadows and rein in the highlights. It lowers the overall contrast of the image. At the H* Extra high level, the colors may change a little and you may have a slight HDR (high dynamic range) look, with lower shadow-to-highlight contrast.

Settings Recommendation: You should experiment with the Active D-Lighting settings to see which you like best. Active D-Lighting has the effect of lowering contrast, and some people do not like low-contrast images. Also, whenever you recover lost detail from shadows, there may be extra noise in the recovered areas.

This function can be useful for JPEG shooters in particular. Since you shouldn’t modify a JPEG file after shooting it, it’s important that the image is created exactly right in the first place. When you are shooting in a high-contrast setting, such as in direct sunlight, some degree of Active D-Lighting may help rein in the contrast.

I am quite impressed with the intelligence of the camera, and when I must get a good shot, such as at a wedding ceremony, I may use Active D-Lighting to keep shadow detail open. It has the added benefit of reining in the highlights, too, so I keep more detail in a bride’s dress, which can be hard to do when shooting with flash in a lowlight room.

Experiment with this by shooting images in a high-contrast and a low-contrast setting at all the various levels of Active D-Lighting. You’ll see how the camera reacts and you can better decide how you’ll use this functionality.

Long Exposure NR

(User’s Manual: Page 129, Reference Manual: Page 180)

Long exposure NR (noise reduction) is designed to combat visual noise in long exposures. Long-exposure noise is a little different from grainy-looking high-ISO sensitivity noise due to its cause. Nikon says long-exposure noise appears as “bright spots, randomly spaced bright pixels, or fog.” Why does this happen? During longer exposures, the imaging sensor can start to warm up a little, especially in warm ambient temperatures. This causes a condition called amp noise, in which warmer sections of the imaging sensor start to display more foggy noise than other sections.

Additionally, when pixels are left turned on for a length of time, a few of them may become brighter than normal and record an improper color, often bright red. Those off-color hot pixels should be removed by the camera. Long exposure NR does just that. (For an explanation of the differences between stuck pixels, hot pixels, and dead pixels, download the Pixel Problems document from the downloadable resources website: http://rockynook.com/NikonZ7.)

Long-exposure noise is best handled by this Long exposure NR function, whereas high-ISO noise is well handled by High ISO NR (see the next section). Sometimes, when you are shooting long exposures at higher ISO settings, both may be needed!

Nikon warns that images taken at shutter speeds over 1 second without Long exposure NR may exhibit more long-exposure noise than is acceptable for normal images. There are two settings for Long exposure NR, as shown in figure 7.15.

• On: When you select On and the exposure lasts over 1 second (e.g., 2 sec, 10 sec, 30 sec), the camera will take two exposures with the exact same time for each. The first exposure is the normal picture-taking exposure. The second exposure is a dark-frame subtraction exposure, made for the same length of time as the first one but with the shutter closed. The noise (hot pixels and fog) in the dark frame image is examined and then subtracted from the original image. It is really quite effective and beats having to blur the image to get rid of noise. I’ve taken exposures of around 30 seconds and had perfectly usable results. The only drawback is that the exposure time is doubled because two exposures are made. The dark frame exposure is not written to the memory card, so you’ll have only one image, with much less noise, in the end. While the dark frame image is being processed, the words Job nr will blink on camera displays. During this second exposure, while Job nr is flashing, you cannot use the camera. If you turn it off while Job nr is flashing, the camera still keeps the first image; it just doesn’t do any noise reduction on it. If Long exposure NR is set to On, the frame advance rate may slow down a little in Continuous release mode, and the capacity of the in-camera memory buffer will drop while the image is being processed.
• Off: If you select Off, you will have no long-exposure noise reduction with exposures over 1 second.

Figure 7.15: Choosing a Long exposure NR setting

Here are the steps to choose a Long exposure NR setting:

1. 1. Choose Long exposure NR from the Photo Shooting Menu and scroll to the right (figure 7.15, image 1).
2. 2. Highlight either On or Off (figure 7.15, image 2) and press the OK button or tap the option to save your setting.

Settings Recommendation: I like the benefits of Long exposure NR. I shoot a lot of waterfall and stream shots where I often need exposures of several seconds to really blur the water. Also, I like to take midnight shots of the sky and shots of city scenes at night. Even though it may slow down the frame rate slightly and allow me fewer images in the in-camera memory buffer for burst shooting, I still use it most of the time.

If I were a sports or action shooter using Continuous release mode, I might leave Long exposure NR turned Off. It’s unlikely I would be using exposures over 1 second, and I would want maximum frames per second as well as the ability to cram as many images into the camera buffer as possible. I wouldn’t want my camera to slow down while writing images to the memory card.

Your style of shooting will govern whether this function is useful to you. Ask yourself one simple question: “Do I often shoot exposures more than 1 second in length?” If so, you may want Long exposure NR set to On. Compare how the images look with and without it, especially nighttime shots. I think you’ll like Long exposure NR.

High ISO NR

(User’s Manual: Page 129, Reference Manual: Page 180)

High ISO NR (High ISO Noise Reduction) lessens the effects of digital noise in your images when you use high ISO sensitivity (exposure gain) settings by using a blurring and resharpening method. Nikon doesn’t specify the exact ISO level at which High ISO NR kicks in. I suspect that a small amount of noise reduction occurs at around ISO 400–800 and gradually increases as the ISO gets higher.

The Z7 has better noise control than most cameras, so it can shoot up to ISO 1600 with little noise. However, no digital camera (that I know of) is completely without noise, so it’s a good idea to use some noise reduction above a certain ISO sensitivity.

If High ISO NR is turned Off, the camera still does a small amount of noise reduction—less than the Low setting. Therefore, at higher ISO settings there will always be some noise reduction.

You can control the amount of noise reduction by choosing one of the four High ISO NR settings: High, Normal, Low, or Off. Shoot some high-ISO exposures and decide for yourself which settings you are comfortable with.

Figure 7.16A: High ISO NR – Off to High correction samples

Figure 7.16A is a sample image of my RGB blocks at ISO 25600 with High ISO NR set to Off, Low, Normal, and High settings. The red rectangle in the little picture of the blocks indicates the area that is shown in the four larger images. These images of the dark subject were shot with no flash, at the camera’s highest normal ISO sensitivity setting. It is a worst-case noise scenario (other than the “Hi” ISOs above the normal range).

High ISO NR works by first blurring and then resharpening the image more and more as you increase the setting from Low to High. By blurring the image, the camera blends the grainy noise into the surroundings to make it less visible. Some mild resharpening is applied to restore image sharpness. This whole process tends to make the image lose a little detail at the highest noise reduction settings.

However, the noise (grain) pattern is better than many cameras I’ve used. This is one excellent FX camera! Let’s see how to enable the various High ISO NR levels.

Figure 7.16B: Setting High ISO NR

Use the following steps to choose a High ISO NR setting:

1. 1. Choose High ISO NR from the Photo Shooting Menu and scroll to the right (figure 7.16B, image 1).
2. 2. Highlight one of the noise reduction levels: High, Normal, Low, or Off (figure 7.16B, image 2) and then press the OK button or tap the option to save your setting.

Settings Recommendation: I leave High ISO NR set to Low or Normal. I do want some noise reduction above ISO 1600. However, since any form of noise reduction blurs the image, I don’t go too far with it. I shoot RAW, so it really makes no difference because I can change everything later in the computer. If I were shooting JPEGs, it would make a serious difference. Why not test a few images at high ISO sensitivity settings with High ISO NR turned On to see which setting you like? Remember that you can use a different choice for each Photo shooting menu bank setting (A–D) to configure your camera for different shooting styles.

Note: If you choose Off, the camera still does a tiny bit of noise reduction, if needed. Nikon says that it does less noise reduction than the Low setting when set to Off.

Vignette Control

(User’s Manual: Page 129, Reference Manual: Page 181)

Vignette control allows you to reduce the amount of vignetting (slight darkening) that many lenses produce in the corners at wide-open apertures. The angle at which light strikes a sensor on its edges is greater than the angle at which rays go straight through the lens to the center areas of the sensor. Due to the increased angle, some light falloff occurs at the extreme edges of the frame, especially at wide apertures. In recognition of this fact, Nikon has provided the Vignette control setting. It can reduce the vignetting effect to a large degree for Nikkor type G, E, D, and S lenses (excluding PC lenses). If more vignette control is required, you can use Photoshop or Nikon Capture NX-D (or other software) to remove it.

Figure 7.17A: Vignette control choices

Figure 7.17A shows a sample of what the Vignette control can accomplish on its own. I shot four pictures of the sky with an AF-S Nikkor 50mm f/1.4G lens at f/1.4 (wide-open aperture). Each picture has more Vignette control applied, from Off to High. Let’s see how to configure the Vignette control for edge light falloff reduction with your lenses.

Figure 7.17B: Vignette control range

Here are the steps to choose a Vignette control level for your Z7:

1. 1. Choose Vignette control from the Photo Shooting Menu and scroll to the right (figure 7.17B, image 1).
2. 2. Highlight a level you want from the list: High, Normal, Low, Off (figure 7.17B, image 2). Then press the OK button or tap the option to lock in the level.

Settings Recommendation: The camera defaulted to Normal from the factory, so I have been shooting most of my images with it set to Normal. I like this control. It does help remove vignetting in the corners when I shoot with the aperture wide open. I have not noticed any additional noise or image degradation in the corrected areas. I suggest leaving your camera set to Normal at all times unless you are shooting with a lens that has a greater tendency to produce vignetting, in which case you can increase it to High. Even High does not seem to fully remove the vignetting when a lens is wide open, so this is not an aggressive algorithm that will leave white spots in the corners of your images. Why not shoot a few shots with your lenses at wide aperture and see how Vignette control works with your lens and camera combinations?

Remember, you can remove vignetting in the computer with post-processing software if the camera’s Vignette control setting does not entirely remove the problem.

Diffraction Compensation

(User’s Manual: Page 129, Reference Manual: Page 181)

Diffraction compensation is designed to help reduce diffraction unsharpness in your images caused by using small apertures (e.g., f/11, f/16, f/22). When light hits the edge of an aperture blade it deflects slightly, arriving at the sensor at a slightly different angle than the light going through the middle of the aperture. This tends to cause the image to be less sharp than an image taken at a larger aperture (e.g., f/4, f/5.6, f/8).

Figure 7.18: Enabling Diffraction compensation

Use the following steps to enable or disable Diffraction compensation:

1. 1. Choose Diffraction compensation from the Photo Shooting Menu and scroll to the right (figure 7.18, image 1).
2. 2. Highlight your choice: On or Off, and press the OK button or tap the option to lock in the setting (figure 7.18, image 2).

Settings Recommendation: Diffraction has been a problem for as long as lenses and apertures have existed. For many years, photographers have tried use mid-sized apertures instead of small apertures to prevent diffraction. I set this function to On and I am happy to have it. I tested it on some landscapes and it does make a difference in sharpness. The Z7 is capable of extra sharpness and this is one of the reasons. Why not test this for yourself and see if you have sharper images with Diffraction compensation enabled? It defaults to enabled and I left it that way permanently on my Z7.

Auto Distortion Control

(User’s Manual: Page 130, Reference Manual: Page 181)

Auto distortion control is designed to automatically reduce barrel and pincushion distortion in your images. It will try to keep lines straight but may crop the edges of your image in the process. This function may be best used by architectural photographers who are concerned about keeping lines and edges straight, for obvious reasons.

The Auto distortion control is designed to be used with Nikkor G, E, and D lenses; not PC, fisheye and aftermarket lenses, nor movies. Using the control may slow down the image processing functions of the camera as distortion is calculated and removed.

What is barrel and pincushion distortion?

Figure 7.19A: Extreme examples of barrel (left) and pincushion (right) distortion

Figure 7.19A shows a greatly exaggerated example of the two distortion types. If you have a lens that does this, you might want to dispose of it, unless it is a fisheye or extreme wide angle, of course.

To prevent even mild cases of these two distortion types from ruining images that contain straight lines, you can use this control. Of course, if you are out shooting nature shots or portraits, it is unlikely that you will gain much benefit from this function. If you need automatic barrel and pincushion distortion control, you will already know it from previous work.

Figure 7.19B: Auto distortion control

Use these steps to enable or disable Auto distortion control:

1. 1. Choose Auto distortion control from the Photo Shooting Menu and scroll to the right (figure 7.19B, image 1).
2. 2. Highlight On or Off (figure 7.19B, image 2) and press the OK button or tap the option to save the setting.

Settings Recommendation: If you are a photographer who really needs this function, you will already know it. If you question whether it will benefit you, it probably won’t. I prefer to remove distortion using software on my computer because I am working with a much larger image and can more easily see what needs to be done. This is an automatic function in the Z7 and, like most automatic functions, does great sometimes but has little benefit most of the time. However, this may be a handy function for times when you are out in the field shooting and you need some distortion correction immediately. Just watch out and allow for edge cropping.

Flicker Reduction Shooting

(User’s Manual: Page 130, Reference Manual: Page 182)

Flicker reduction helps control the banding or flicker you may see when photographing under certain lighting types, such as fluorescent and mercury-vapor lighting. These types of lights do not output a constant stream of light. Instead, they rapidly pulse the light at a rate that is much faster than a human can normally detect. However, this flickering light can affect photographs and cause exposure problems.

The Nikon Z7 has the ability to time the taking of a photograph to reduce the effects of this flickering. When you press the Shutter-release button under those types of lights, the camera will attempt to fire the shutter during a full brightness pulse of the light, leading to better exposures. If you rarely shoot important pictures under fluorescent or mercury-vapor lighting, you may want to ignore the function.

Let’s see how to enable and disable Flicker reduction.

Figure 7.20: Enabling or disabling Flicker reduction

Use these steps to enable or disable the Flicker reduction function:

1. 1. Choose Flicker reduction shooting from the Photo Shooting Menu and scroll to the right (figure 7.20, image 1).
2. 2. Highlight On or Off on the menu (figure 7.20, image 2) and press the OK button or tap your selection to save the setting.

Note: The frame rate can be affected when Flicker reduction is enabled. If you are shooting in Continuous H (Extended) mode (page 100), with Custom Setting d4 Exposure delay mode enabled (page 402), in HDR mode (page 283), or at a shutter speed slower than 1/100s, Flicker reduction shooting is automatically disabled.

Settings Recommendation: I enable Flicker reduction shooting only when I shoot events where there is fluorescent light (graduations and weddings).

If you are primarily an outdoor sports shooter and photograph under natural light only, you can safely disable the function. Doing so will ensure that you have the maximum shooting frame rate. Be careful, though, if you are shooting night sports under artificial lighting.

Metering

(User’s Manual: Page 130, Reference Manual: Pages 106, 182)

The Metering function allows you to control the type of light meter your camera uses to choose a good exposure. There are four types of meters available in the Nikon Z7. Here is a description of each type:

• Matrix metering: The camera meters a wide area of the frame using a matrix of zones and an internal database of patterns from thousands of images. It uses these patterns along with tone distribution, color, composition, and subject distance to capture the best exposure for the subject. Matrix metering is accurate in most cases and is generally used as a default setting by most photographers.
• Center-weighted metering: The camera measures light from the entire frame but concentrates 75 percent of its metering attention on a 12mm circle in the middle of the frame with only 25 percent for the areas outside the circle (firmware version C 1.01). Also, the camera can be set to use the entire frame and average the light reading from across 100 percent of the frame instead of concentrating 75 percent on the 12mm circle in the middle of the frame and 25 percent outside that circle. For more information see the b3 Center-weighted area function in the Custom Setting Menu chapter (page 385).
• Spot Metering: The camera allows you to use a tiny 4mm spot for metering. The 4mm spot is about 1.5 percent of the frame so it can provide accurate metering of a specific area on your subject, allowing you to manually figure an average, or concentrate on the most important area of your subject for best exposure. This spot meter is movable and surrounds the currently active autofocus point; therefore, when you move the AF point in this mode, you are also moving the spot meter. Just move the AF point with the Sub-selector joystick to the area of the subject you want to meter and the camera will make the exposure based on a small 4mm area surrounding the currently active AF point.
• Highlight-weighted metering: The camera meters for highlights in this mode, mostly ignoring surrounding darkness. If you are shooting a concert with a performer in a spotlight, this mode is excellent. It also works well for direct flash of human subjects against a somewhat distant dark background.

All metering modes have a metering range of from −3 to +17 EV. Let’s examine how to choose the best meter style for your subjects, from both the Photo Shooting Menu and the i Menu.

Figure 7.21A: Metering modes on the Photo Shooting Menu

Use these steps to choose a Metering mode from the Photo Shooting Menu:

1. 1. Choose Metering from the Photo Shooting Menu and scroll to the right (figure 7.21A, image 1).
2. 2. Referring to the previous list of metering modes, highlight your Metering mode choice (figure 7.21A, image 2) and press the OK button or tap your choice to use that Metering type.

An even faster way to access the Metering mode types is to use the i Menu. Let’s see how.

Figure 7.21B: Metering modes on the i Menu

Use these steps to choose a Metering mode from the i Menu:

1. 1. Press the i button on the back of the camera and the i Menu will open (figure 7.21B, image 1). Scroll to the Metering position on the menu and press the OK button or tap the Metering icon. The Metering secondary screen will open.
2. 2. Referring to the previous list of metering modes, highlight your Metering mode choice (figure 7.21B, image 2) and press the OK button or tap your selection to use that Metering type.

Settings Recommendation: The majority of photographers will leave their Metering mode set to Matrix metering. This is a well-established and often uncannily accurate form of exposure metering. Nikon has been working on their Matrix metering algorithms for many years, and the Nikon Z7 has benefitted from that work. If you have special needs, such as for spot metering or for shooting highlighted subjects, you also have those choices. Center-weighted metering is an old style of metering that comes from the days of film glory. It works pretty well and some people prefer it, especially those who cut their teeth on old film cameras with center-weighted metering only. Use whichever one you like best or need at that time. I’ve found that Matrix metering works best for me most of the time.

Flash Control

(User’s Manual: Page 130, Reference Manual: Pages 183, 379)

The Nikon Z7 has one of the most advanced flash control systems of any mirrorless camera, with the ability to control multiple banks of external flash units by radio and/or optical control. In figure 7.22A, you will find a dressed-up Nikon Z7 with a Nikon SB-5000 Speedlight flash unit and a WR-R10 Wireless Remote Controller (radio transmitter) kit mounted.

Figure 7.22A: Nikon Z7 with WR-R10 receiver and SB-5000 flash

Using Older Nikon Speedlights with the Nikon Z7

Some older Nikon Speedlights will not open the Flash control menu on the Z7. It will stay grayed out and unavailable. In this book, I will discuss using the SB-500 and SB-5000 flash units with the Z7 camera because those two flash units are specifically mentioned in the User’s Manual as being fully compatible. There is no harm in testing your recent older Nikon flash unit with the Z7 to see if it will open the Flash control menu. One qualifier, though: I would not even mount a Speedlight flash older than the SB-800 on a current Nikon camera, as it could damage the camera. The Nikon Z7 is fully compatible with i-TTL mode on all Speedlight flash units produced after the SB-800 and will take correctly exposed pictures with them.

I tested an SB-900 and SB-910 flash unit with my Nikon Z7 and the resulting pictures were exposed correctly. Therefore, if you do not have an SB-500 or SB-5000 Speedlight, you can continue using your older Nikon flash units for normal i-TTL flash photography.

You cannot use the Commander mode of master-flash compatible units (e.g., SB-700, SB-900, SB-910, SU-800) from within the Z7’s Flash control menu because it remains grayed out when an older Speedlight is mounted. However, you can use the Commander settings in the LCD screen on the back of the Speedlight flash itself to control Nikon’s optical Creative Lighting System (CLS). In other words, the camera allows the built-in Commander (master flash) modes of the SB-700, SB-900, SB-910, and the SU-800 wireless commander to work as expected.

Note: Several older Nikon Speedlights will work fine in the i-TTL modes with the Z7, including the SB-910, SB-900, SB-800, SB-700, SB-600, SB-400, and SB-300; however, there are limitations on other modes. Please refer to the chart in the Nikon Reference Manual on pages 404–406 that shows which modes are compatible for each Speedlight.

Using the SB-500 and SB-5000 Speedlights for Flash Photography

The SB-500 and SB-5000 Speedlights are mentioned in the Nikon manuals as the most efficient flash units for use on the Z7. You can use either of these two Speedlights to control multiple banks of remote Nikon Speedlights, either by using the optical Creative Lighting System (CLS) or by radio control with a WR-R10 Wireless Remote Commander kit (figure 7.22A).

Let’s examine how to use either of the Nikon-suggested flash units for Flash control. First, let’s examine the five available Flash control modes (figure 7.22B, image 3).

• (TTL) TTL: The camera will take pictures using the excellent i-TTL (TTL-BL or balanced fill-flash) mode built into the Speedlight. The flash fires in two stages. Nikon calls stage one “monitor preflash.” The flash emits a series of almost invisible flashes before the main flash burst fires (stage two). The preflashes allow the camera’s RGB flash sensor to examine all areas of the frame for reflectivity. The Z7 then uses the Matrix meter and distance information from a Nikkor D, G, E, or S lens to calculate a flash output that is balanced between the main subject and the ambient lighting. You must use Matrix or Center-weighted metering for this mode to work. When the Spot meter is used, the camera automatically switches out of balanced fill-flash mode and enters Standard i-TTL (TTL). This mode ignores the background’s ambient light and concentrates on whatever the camera’s selected AF point is focused on. For the most accurate flash output for a specific subject, just set your camera to use its Spot meter (page 56), and the flash will meter for the subject only. TTL and TTL-BL mode are available for both the SB-500 and SB-5000. You can manually select TTL or TTL-BL with the i button on the back of the SB-5000 flash (using the Mode menu item); however, with the SB-500, the selection is done automatically.
• (A) Auto external flash: This mode uses an older style of reflective light sensing to arrive at a fairly accurate flash. It is the equivalent of using A mode (non-TTL auto) on older Speedlight flash units. This mode also supports auto-aperture flash. If you use a non-CPU lens and do not specify a focal length and maximum aperture (page 429), this mode will be selected automatically. Auto external flash mode is limited to the SB-5000 Speedlight and will not appear on the Flash control mode menu for lesser flash units.
• (GN) Distance-priority manual: Allows you to input the distance to your subject and the flash unit will adjust itself automatically for a proper exposure. This mode is limited to the SB-5000 Speedlight and will not appear on the Flash control mode menu for lesser flash units.
• (M) Manual: With this mode you can choose the flash output manually, based on a percentage of full power. The flash starts out in 1/1 mode, which means it will provide the maximum flash output it can generate. It can be adjusted in 1/3 EV steps down to 1/256, which is 1/256th of a full power flash. This mode is available for both the SB-5000 and SB-500 Speedlights (plus some other smaller units, such as the SB-400 and SB-300).
• (RPT) Repeating flash: The flash will fire repeatedly with a strobe-like effect while the shutter is open. You can set the Output, Times, and Frequency. Output means the flash power level (from 1/8 to 1/256), Times means the number of times the flash fires (from 2 to 20 times), and the Frequency means the Hz rate (times per second) the flash fires (from 1 to 100 Hz). This mode is limited to the SB-5000 Speedlight and will not appear on the Flash control mode menu for lesser flash units.

Note: As we go through the following items, please keep in mind that the new Nikon Speedlight units (SB-5000 and SB-500) work more closely with your camera than previous Nikon cameras and Speedlights. This means any changes you make on the Flash unit’s LCD menu will be reflected in the camera’s menu settings immediately, and any changes you make in the camera’s menu settings will show up in the Speedlight’s LCD menus and screens. The Speedlight and camera update each other’s settings through the Accessory shoe contact points. In my opinion, this makes things much nicer for flash photography!

Now let’s examine the screens and steps needed to choose one of these five modes and adjust it to fit your needs.

Figure 7.22B: Using Flash control mode

Use the following steps to choose a Flash control mode:

1. 1. Follow the screen flow shown in figure 7.22B, images 1 and 2 (Flash control > Flash control mode) until you arrive at the third screen in the series.
2. 2. Choose one of the five Flash control modes and press the OK button or tap the item to lock in the setting (figure 7.22B, image 3).

Now let’s look closely at how to configure each of the five Flash control mode settings.

TTL Mode Configuration

Figure 7.22C: Configuring TTL mode

Use these steps to configure the TTL mode (continuing from where figure 7.22B, image 3, ends):

1. 1. Choose TTL from the Flash control mode menu and press the OK button or tap on TTL (figure 7.22C, image 1).
2. 2. If you want to use flash compensation for the SB-5000 flash, scroll down to the Flash compensation (TTL) menu item and scroll to the right (figure 7.22C, image 2). Otherwise, skip steps 2 and 3. (See the upcoming special note for compensation for flash units other than the SB-5000.)
3. 3. Choose a flash compensation amount using the up/down arrows, from −3.0 to +3.0 EV steps, and press or touch OK to lock in the value (figure 7.22C, image 3). (Note: If you are using an SB-5000, you will see that the LCD on the back of the flash unit now reflects the value you just selected in the camera menu. If you change it on the flash unit directly, you will see the camera menus update to the new value.)

Note: The compensation steps above apply to the SB-5000 flash only and most likely to future Nikon flagship Speedlights.

Settings Recommendation: I sometimes shoot with the flash underexposed by 1/3 EV step when I am very close to my subject and the background is a little dark. I find my flash units shoot a little too brightly for up-close use in those circumstances, so I might dial mine back a little. What is so convenient with the Z7 and SB-5000 flash cooperation is that I can select a compensation value on either the flash unit or within the camera, whichever is easier, and the other device will automatically update its value to match.

(A) Auto External Flash Configuration

Figure 7.22D: (A) Auto External Flash mode configuration

Use these steps to configure the (A) Auto external flash mode (continuing from where figure 7.22B, image 3, ends):

1. 1. Choose Auto external flash from the Flash control mode menu and press the OK button or tap on Auto external flash (figure 7.22D, image 1).
2. 2. If you want to use flash compensation for the SB-5000 flash, scroll down to the Auto external flash compensation menu item and scroll to the right (figure 7.22D, image 2). Otherwise, skip steps 2 and 3.
3. 3. Choose a compensation amount with the up/down arrows, from −3.0 to +3.0 EV steps, and press or touch OK to lock in the value (figure 7.22D, image 3). The camera and an SB-5000 flash will share and display the compensation values you just entered, on their LCD screens.

(GN) Distance-Priority Configuration

Figure 7.22E: Distance-priority mode configuration

Use these steps to configure the (GN) Distance-priority manual mode (continuing from where figure 7.22B, image 3, ends):

1. 1. Choose Distance-priority manual from the Flash control mode menu and press the OK button or tap on Distance-priority manual (figure 7.22E, image 1).
2. 2. Scroll down to the Distance-priority options menu item and then scroll to the right (figure 7.22E, image 2).
3. 3. You now have two options to configure: Distance and Flash compensation (figure 7.22E, images 3 and 4). Carefully measure the distance between your subject and the camera with a tape measure, or by using lens-marking information, and select that value from the Distance up/down menu (figure 7.22E, image 3), then press or touch OK. The Distance scale is marked in meters (m); therefore, if you are unfamiliar with the metric system, have a meter/foot conversion calculator available or use a metric tape measure. Alternatively, you can just estimate and use a smaller aperture for more depth of field to accommodate for minor distance errors. You can choose from 0.3m to 20m Distance.
4. 4. If you would like to use Flash compensation, scroll to the right and enter a value from −3.0 to +3.0 EV steps in the up/down menu, and then press or touch OK to lock in the value (figure 7.22E, image 4). The camera and an SB-5000 flash will share and display the compensation values you just entered, on their LCD screens.

(M) Manual Configuration

Figure 7.22F: (M) Manual mode configuration

Use these steps to configure the (M) Manual mode (continuing from where figure 7.22B, image 3, leaves off):

1. 1. Choose Manual from the Flash control mode menu and press the OK button or tap on Manual (figure 7.22F, image 1).
2. 2. Scroll down to the Manual output amount menu item and then scroll to the right (figure 7.22F image 2).
3. 3. Now you must select a power output setting (Manual output amount) for the Speedlight to use (figure 7.22F, image 3). By using the up/down menu, you can choose from 1/1 (full power) all the way down to 1/256 (1/256th of a full power flash) in 1/3 EV step increments. Press or touch OK to lock in the value.

(RPT) Repeating Flash Configuration

Figure 7.22G: (RPT) Repeating flash mode configuration

Use these steps to configure the (RPT) Repeating flash mode (continuing from where figure 7.22B, image 3, leaves off):

1. 1. Choose Repeating flash from the Flash control mode menu and press the OK button or tap on Repeating flash (figure 7.22G, image 1).
2. 2. Scroll down to the Repeating flash menu item and then scroll to the right (figure 7.22G, image 2).
3. 3. Now you must select from three values to set up the strobing effect (figure 7.22G, image 3): Output—or how powerful the flash is—from 1/8 to 1/256 power; Times—or how many times the flash pulse fires—from 2 to 20 times; and Frequency—or how fast the flash pulse fires—from 1 to 100 pulses per second (Hz). When you have all three subsettings configured, press or touch OK to lock in the values.

Wireless Speedlight Control

The Nikon Z7 has the capability of using Commander mode master-flash units to provide optical Nikon CLS (creative lighting system) services. This will let you use older master-flash, Commander-capable units like the SB-700, SB-800, SB-900, SB-910, and SU-800 to control multiple banks of remote Speedlights. Unfortunately, you must use Master mode and the LCD screen on the accessory-shoe mounted commander unit to control Nikon CLS Commander mode settings because the camera provides no menus screens to direct the older Speedlights. The Photo Shooting Menu > Flash control menu is grayed out and unavailable when an older flash unit is mounted.

However, when a Nikon SB-500, SB-5000, or later compatible Speedlight is mounted, the Flash control menu becomes available, and you have full ability to control the attached Speedlight and remote units with the camera’s Flash control screens. You can use optical control, radio control (via the WR-R10 receiver), or a combination of both optical and radio. When you use the combined optical and radio systems, you can have older and newer Speedlights working together in a unified system.

A few pages back, figure 7.22A shows a fully loaded Nikon Z7 with the SB-5000 and the WR-R10 receiver mounted on the camera. The SB-5000, of course, mounts on the camera’s Accessory shoe, whereas the WR-R10 receiver mounts in the Accessory terminal socket, just below the HDMI port, under the largest rubber cover. Figure 7.22H shows a closeup of the WR-R10 receiver plugged directly into the Z7. Let’s see how it mounts.

Figure 7.22H: Mounting the WR-R10 Wireless Remote Controller in the Accessory terminal

Use these steps to mount the WR-R10 wireless remote controller in the camera’s Accessory terminal:

1. 1. Open the large rubber cover nearest the back of the camera (figure 7.22H).
2. 2. Be sure the WR-R10 wireless remote controller is facing toward the front of the camera and carefully push the WR-R10’s male connector into the female Accessory terminal—into the lower connector, just below the HDMI connector.

Note: Be careful with the camera once the WR-R10 is mounted because it protrudes awkwardly and it may be possible to break the WR-R10 or camera by hitting the WR-R10 against something. I have been unable to find an extension cable that would mount the WR-R10 in a less exposed manner. You cannot use the HDMI port while the WR-R10 is inserted because it covers part of the HDMI connector.

Additionally, since we are using a WR-R10 controller and pairing it with an SB-5000 Speedlight, you will need to configure the type of pairing (Pair or Pin) used in the Setup Menu > Wireless remote (WR) options function (page 525) before using the upcoming Wireless flash options.

Next, let’s see how to use the camera’s Wireless flash options and its subfeatures: Remote flash control, Group flash options, and Radio remote flash info.

Wireless Flash Options

When you turn the camera on with a WR-R10 receiver mounted, or a compatible Speedlight (SB-500 or SB-5000), or a combination of the WR-R10 receiver and a compatible Speedlight, the Flash control menu will allow you to enable the Wireless flash options.

These three options allow you to use Nikon’s Advanced Wireless Lighting (AWL)—a subset of Nikon CLS—to control remote flash units as a “Commander” master flash. Let’s examine the three available options. The options are available according to what type of Commander unit is mounted in the Accessory shoe; therefore, the camera menu offers only one or two of these options at a time. Following are all three options:

• Optical AWL: When you are using a Nikon SB-500 or SB-5000 Speedlight—or any compatible future Speedlights—you can use the mounted flash unit as a master-flash unit (Commander) to control multiple banks of remote Speedlight flash units. The mounted Commander Speedlight will emit low-intensity optical preflashes that send controlling information to the remote units, telling them how to expose the subject.
• Optical/radio AWL: This combination mode is available only when the SB-500 is mounted along with the WR-R10 Wireless Remote Controller kit (firmware C1.01). This allows you to use the relatively inexpensive SB-500 as a Commander Speedlight (master) in combination with the WR-R10 radio receiver, to use optical and radio control at the same time. This mode does allow you to easily control up to six banks (A–F) of remote (slave) Speedlights. Up to three banks (A–C) are devoted to Optical AWL and up to three banks (D–F) are relegated to Radio AWL. The actual number of banks you can control is set by the capabilities of the mounted units. For instance, the SB-500 can normally control only two banks (A–B) for optical, while the WR-R10 controls banks D–F. When using SB-500 as a optical wireless commander, you will be able to control banks A–C for Optical AWL (via the Commander menu on the external master unit) and D–F for Radio AWL (via the camera’s menu).
• Radio AWL: In this mode all six available banks for the remote (slave) units (A–F) are controlled by the WR-R10 receiver. You must use remote flash units that support Radio AWL, such as the Nikon SB-5000 (or compatible future flash units).

Now, let’s consider how to select one of these options. Use the following screens and steps to configure the Wireless flash options, according to which units are mounted on the camera:

Figure 7.22I: The Flash control’s Wireless flash options

1. 1. Select Wireless flash options from the Flash control menu and then scroll to the right (figure 7.22I).

Figure 7.22J: AWL combinations per flash and radio unit mounted

1. 2. You will see a single Wireless flash options screen, with one of the menu selections shown in figure 7.22J, images 1–4. Each of the screens shown represent a different combination of Speedlight and WR-R10 radio unit, per the following descriptions (see bold red text in figure 7.22J, images 1–4):
   1. Figure 7.22J, image 1, displays the available options for using an SB-500 and the WR-R10 receiver (Optical/radio AWL or Radio AWL).
   2. Figure 7.22J, image 2, shows the available options when you have an SB-5000 and a WR-R10 receiver mounted (Optical AWL or Radio AWL).
   3. Figure 7.22J, image 3, displays the single Radio AWL option you have available when you have just the WR-R10 radio receiver unit mounted.
   4. Figure 7.22J, image 4, shows the single Optical AWL option you have when either the SB-500 or SB-5000 (or compatible future Speedlight) is mounted, but no WR-R10 transmitter is in the Ten-pin remote terminal. (Note: While the SB-5000 Speedlight is capable of receiving radio signals through the WR-R10 receiver, it is not capable of replacing the WR-R10 as a radio Commander unit for radio control of remote Speedlights.)
   5. Select one of the Wireless flash options from the menu and press the OK button or tap the option to lock in your choice.

Settings Recommendation: After experimenting quite a bit to fully understand these settings, I am now using an SB-500 in the camera’s Accessory shoe and the WR-R10 kit in the Accessory terminal to control remote flash units by radio and optical at the same time (see figure 7.22J, image 1), to control up to five banks of flash units. With this arrangement, you may control up to two banks of remote Speedlights optically (A and B; C is not available in this mode). Then, you can adjust the camera’s radio settings for the WR-R10 radio transmitter and control up to an additional three banks (D–F) by radio signal. This arrangement allows you to use your older Speedlight flash unit(s) along with new SB-500 or SB-5000 flash unit(s) for simultaneous optical and radio control.

If you prefer to use an older Speedlight flash unit that has a Commander mode as the optical master flash, you can configure the flash using the LCD menu on the master flash itself. It will then directly control up to three banks (A–C) without changing any settings in the camera. If you like, you can then add a WR-R10 unit in the accessory shoe to control banks D–F by radio. In other words, when you have an older flash unit or the SU-800 wireless commander unit in the camera’s hotshoe, acting as a master flash for optical control, you will be able to control banks D–F for radio control only within the camera using the Flash control > Group flash options function when a WR-R10 unit is mounted.

However, if you are missing some of the equipment necessary to power both radio and optical Speedlight control, you can do one or the other (optical or radio), with one of the combinations shown in figure 7.22J. The only difficulty you will encounter is that you must control your Commander master flash outside of the camera’s menu system when you have no WR-R10 receiver unit to use along with the older Commander master-flash unit. The camera’s Flash control menu will be grayed out and unavailable when any older flash technology is mounted in the camera’s hotshoe. Therefore, be prepared to use normal Optical AWL from the older Speedlight (or SU-800) LCD menu directly, like you have in the past.

On the other hand, if you have a new SB-5000 Speedlight, you can control Optical AWL from the camera’s Flash control menu or the LCD menu on the flash itself. The Z7 or SB-5000 will accept settings changes on their respective menus and then transmit the changes immediately to the other device.

Special note: Please do not be put off by the complexity of this flash configuration system. The Nikon Z7 gives you some truly flexible ways to control multiple banks of flash units optically and by radio. It took me a while to really get comfortable with it, but now that I understand it, it is certainly worthwhile for when I need to use multiple Speedlight flash units to light a scene.

Now, let’s go a little deeper into the usage of Nikon SB-5000 Speedlights and the WR-R10 receiver for wireless radio remote control.

When you are using an SB-5000 Speedlight and WR-R10 controller, you will have all Remote flash control menu choices available to you. Using a different Speedlight, including the SB-500, will limit your menu choices.

We will consider the following settings primarily based on a Z7 with an SB-5000 Speedlight flash unit on the Accessory shoe individually and also with a WR-R10 controller in the Accessory terminal.

Remote Flash Control and (GRP) Group Flash Options

The Group flash options allow you to control your remote flash groups in the way most familiar to users of older, optical-only Nikon CLS standards.

This subsection continues where the choices found in figure 7.22J leave off. After you have chosen which AWL method you will use (Optical/radio AWL, Radio AWL, or Optical AWL), you will need to choose a Remote flash control type, and then set the Group flash options that appear on the camera’s menu (figure 7.22K, image 3).

Figure 7.22K: Using Remote flash control and Group flash options

Use the following steps to set the Remote flash control and resulting Group flash options settings:

1. 1. After setting the Wireless flash options, as shown in figure 7.22J, choose Remote flash control and scroll to the right (figure 7.22K, image 1).
2. 2. Highlight the GRP Group flash setting and then press the OK button or tap the option to select it (figure 7.22K, image 2). Please note that using a flash unit other than the SB-5000 will disable any changes to the Remote flash control function, leaving it set to GRP Group flash. No other Remote flash control setting is available unless you use the SB-5000 flash unit (or a compatible future flash unit).
3. 3. Your camera’s menu will now show the words Group flash options just below Remote flash control (figure 7.22K, image 3). Select Group flash options and scroll to the right.
4. 4. The final screen in the series (figure 7.22K, image 4) allows you to adjust the Group flash options for the Master flash and the Groups (A–C). It also allows you to set a channel for communicating with the remote flash unit optically. I chose Optical AWL (see figure 7.22L, image 1) for the first look at these settings because this is the most familiar Commander mode setting for previous Master flash configuration. If you have used Nikon CLS is the past, you have seen this final screen (image 4) many times. In a moment we will consider what the final screens looks like for Radio AWL and Optical/radio AWL. But first, let’s examine what each of the settings do.

Figure 7.22L: Group flash options settings (per-type screen choices in figure 7.22K, image 4)

1. 5. There are three columns in the Group flash options screen (figure 7.22L, images 1–3). The first column represents the Master flash and remote flash group headings (Group A to Group F). In the first column of the Group flash options screens, you will notice some differences, according to which AWL type you have selected. The following list describes the differences in the first column of figure 7.22L, images 1–3:
   1. Optical AWL: In figure 7.22L, image 1 (Optical AWL), the camera will offer the Master flash setting, up to three groups (A–C), and the Channel (1–4) selection.
   2. Radio AWL: In figure 7.22L, image 2 (Radio AWL), you will note there are extra Groups (A–F) available. You cannot see past Group D (Groups E and F) on the Radio AWL screen unless you scroll down. You can control up to six groups of Speedlight units with the Radio AWL selection—if you have a WR-R10 receiver mounted. You do not have a Channel selection in the camera itself when using Radio AWL because the WR-R10 receiver has a physical switch on it offering three channels (CH) 5, 10, and 15. You must set the radio-controlled Speedlight (e.g., SB-5000) to the same Channel setting as the WR-R10 receiver with the flash unit’s controls (for instance, the SB-5000 has an i button menu with a Channel setting).
   3. Optical/radio AWL: In figure 7.22L, image 3 (Optical/radio AWL), you will notice that you see only Groups D, E, and F. Where are Groups A, B, and C? Well, this mode is available only when you have an older Commander master flash unit on the Accessory shoe (e.g., SB-700, SB-800, SB-900, SB-910, and SU-800). Groups A–C are controlled by the mounted Commander master flash itself and you do not make any adjustments in the Z7’s Group flash options screen. All adjustments for Groups A–C are instead made on the Commander master flash unit’s LCD menu on back of the master flash unit. Only Groups D–F can be adjusted from the camera’s Group flash options menu. To make this clearer: With this hybrid Optical/radio AWL setting, the master flash unit itself controls Groups A, B, and C, while the Z7 controls Groups D, E, and F. (Note on pairing the WR-R10 and the SB-5000: If you cannot get your remote SB-5000 to pair with the WR-R10 receiver after setting the Channel [CH] for each unit, make sure you have selected a Mode [e.g., TTL] for the Group [D, E, or F] that is controlling the remote flash SB-5000 unit. Note on using an SB-500: The Group flash options screen combines the screens in images 1 and 3 when you have an SB-500 mounted on the Accessory shoe. You must scroll up and down in the screen to see all the available Groups. The SB-500 provides only Groups A and B, but not C, for the optical side of the equation. The WR-R10 receiver will control Groups D, E, and F for the radio side.) Note: I have included a quick step-by-step configuration for optical and radio combination control of multiple remote flash units using a low-cost SB-500 Speedlight as the master flash. See the subsection titled Step-by-Step Simultaneous Optical AWL and Radio AWL Configuration on page 251.
2. 6. The second column in the Group flash options screens shown in figure 7.22L, images 1–3, represents the Mode setting, which includes the four selections in the following list of Mode types:
   1. TTL mode: The TTL setting allows you to use the full power of i-TTL technology. By leaving Mode set to TTL (figure 7.22L) for the Groups (A–F), you derive maximum flexibility and accuracy from all your flash units. In TTL mode, the Comp. setting will display exposure values from +3.0 EV to −3.0 EV, a full six-stop range of exposure compensation for each group of Speedlights. You can set the Comp. in 1/3 EV steps for very fine control. In all three screens in figure 7.22L, Group A and Group B is set to TTL mode with +0.3 EV Comp. for Group A and –0.3 EV Comp. for Group B.
   2. A mode: The A mode for non-CPU lenses, and the Auto Aperture mode for lenses with a CPU, are older, non–i-TTL technologies included for people who are accustomed to using older flash systems. In these two modes, flash output is automatically adjusted according to the amount of light reflected back from your subject. The two A modes work basically the same as TTL mode, without the extra smarts provided by the amazing i-TTL mode. The SB-5000’s light sensor for non-TTL-auto flash measures the reflected light from the subject. The SB-5000 then controls the output level of the main flash burst, with input from the camera and lens, which includes the ISO sensitivity, exposure compensation, and the size of the aperture. A mode use is most accurate when you are using lenses having a CPU that transmits data to the camera and flash (G, D, and E lenses). If you are using a non-CPU lens with no maximum aperture information entered into the camera, the flash is forced into using only reflected light from the subject to judge proper exposure.
   3. M mode: This allows you to set different levels of flash output in 1/3 EV steps for the Speedlights in Group A, B, and C. The settings you can put in the Comp. field are between 1/1 (full power) and 1/256 in 1/3 EV steps. The intermediate 1/3-step settings are presented as decimals following the power fraction (e.g.,1/16 −0.3). In all three screens in figure 7.22L, Group C is set to M mode at 1/16 power, less −0.3 EV step (1/3 EV step below 1/16 power). This mode requires you to experiment while getting the settings just right, but then provides very stable exposures.
   4. − − mode (do not fire mode): The Speedlight in the Accessory shoe will not fire the main flash burst in this mode. It will fire the monitor preflashes because it uses them to determine exposure and communicate with the external flash groups for Optical AWL. It is often best to set Master flash to – – Mode so that the master flash does not influence the lighting in your carefully arranged Groups of Speedlights (as seen in figure 7.22L, images 1 and 2). When you set – – Mode for any of the Groups (A–F), that entire group of flashes will not fire any flash output. You can use this mode to temporarily turn off one of the flash groups for testing purposes.
3. 7. The third column represents flash Comp. (compensation) for the Master flash and remote Group flashes. When using TTL, A mode, or Auto Aperture mode, you can set exposure compensation from +3.0 to −3.0 EV. When using Manual (M) mode, you can select the flash output power from 1/1 (full flash output) to 1/256 (1/256th of full flash output).
4. 8. Once you have configured the options, press or touch OK to lock in the settings.

Step-by-Step Simultaneous Optical AWL and Radio AWL Configuration

Let’s examine how to configure a complex master flash setup for both optical and radio control of multiple remote flash units. This configuration requires the use of an inexpensive SB-500 Speedlight as a master flash unit for optical control (or alternatively an older commander flash unit—discussed at the end of this subsection), a WR-R10 wireless remote controller for radio control, and two or more remote (slave) flash units.

Some slave units will need to have Optical AWL remote capability (e.g., SB-600, SB-700, SB-800, SB-900, SB-910) and some will need to have Radio AWL remote capability (e.g., SB-5000). Also, the WR-R10 and SB-5000(s) will need to have been previously paired (Refer to Setup menu > Wireless remote (WR) options > Link mode, on page 525, for Paring instructions.)

Configure SB-500 Master flash without WR-R10 inserted:

1. 1. Put the SB-500 flash unit in camera’s Accessory shoe and turn it on. Do not insert the WR-R10 unit into the camera’s Accessory terminal until instructed!
2. 2. Set Photo Shooting Menu > Flash Control > Wireless flash options to Optical AWL.
3. 3. Set Photo Shooting Menu > Flash Control > Group flash options > Group A and/or B to TTL and then set a communication Channel (1 to 4).
4. 4. Configure the remote flash units to use Groups A and/or B and the communications channel you are using (1–4) and set the remote flash units to Remote (slave) mode.
5. 5. Turn SB-500 flash off (you must turn it off before configuring the WR-R10).

Configure WR-R10 wireless remote controller:

1. 1. Flip WR-R10 switch to channel 5, 10, or 15.
2. 2. Insert WR-R10 into Accessory terminal.
3. 3. Configure remote SB-5000(s) to channel 5, 10, or 15 to match WR-R10.
4. 4. Set Photo Shooting Menu > Flash Control > Wireless flash options to Radio AWL.
5. 5. Set Photo Shooting Menu > Flash Control > Group Flash options Groups D, E, or F to TTL.
6. 6. Configure remote (slave) flash units to match the communications channel set on the WR-R10 (5, 10, or 15) and the Group(s) set (D–F) in Group flash options (must be SB-5000s or newer radio flashes, older non-radio flash units won’t work)
7. 7. Set slave flash units to Remote (slave) mode.

Prepare to take pictures:

1. 1. Check that the Link light on the WR-R10 and SB-5000 (slaves) are both green.
2. 2. Turn SB-500 flash on.
3. 3. Set Photo Shooting Menu > Flash Control > Wireless flash options to Optical/radio AWL. The CMD light on the SB-500 should shine.
4. 4. Take pictures.

Using older Speedlight commander flash units as master flash: As previously mentioned, an alternate form of this method is to use an older Speedlight flash unit with master flash capability (e.g., SB-700, SB-800, SB-900, SB-910, SU-800) and configure it directly on the flash unit’s LCD screen, for optical control of remote (slave) flash units (beyond the scope of this book, see Speedlight flash user’s manual).

Put the older Commander flash unit in the camera’s Accessory shoe instead of the SB-500 mentioned previously. The Flash mode screens in the camera will be grayed out and unavailable in the Photo Shooting Menu, so you can ignore the camera for the optical configuration. Use the older flash unit to control your optical remote Speedlights.

Follow the steps under the previous Configure WR-R10 wireless remote controller to configure the WR-R10 for radio control of the SB-5000 flash unit(s). In this manner, you can simultaneously use older flash units to control the optical remote flash units and a WR-R10 to control the radio remote flash units.

Remote Flash Control and (A:B) Quick Wireless Control Options

The Quick wireless control options allow you to blend the power output of your remote flash groups in a very creative way.

This subsection continues where the choices found in figure 7.22J leave off. After you have chosen which AWL method you will use (Optical/radio AWL, Radio AWL, or Optical AWL), you will need to choose the Remote flash control type named A:B Quick wireless control and then modify the Quick wireless control options from the camera’s menu that shows below Remote flash control (figure 7.22M, image 3).

Figure 7.22M: Using Remote flash control and Quick wireless control options

Use the following steps to set the A:B Quick wireless control options:

1. 1. After having previously set the Wireless flash options in figure 7.22J, choose Remote flash control and scroll to the right (figure 7.22M, image 1).
2. 2. Choose the A:B Quick wireless control setting and press the OK button or tap on the item to select it (figure 7.22M, image 2). Please note that using a flash unit besides the SB-5000 will disable any changes to the Remote flash control function, leaving it set to GRP Group flash. No other Remote flash control setting is available unless you use the SB-5000 flash unit (or a compatible future flash unit).
3. 3. Your camera’s menu will now show the words Quick wireless control options just below Remote flash control (figure 7.22M, image 3). Select Quick wireless control options and scroll to the right.
4. 4. The final screen in the series (figure 7.22N), which is the same screen as figure 7.22M, image 4 (except with adjustments added), allows you to adjust the Quick wireless control options. You can control three Groups of remote Speedlights: Groups A, B, and C. The SB-5000 master flash will not fire anything except the optical communication preflashes so it cannot be used for primary lighting and has no Master flash selection on this screen. Groups A and B will use TTL only and you can adjust a blend of power between the two groups by adjusting the Output (A:B) setting. You can select from –:1 to 1:–, and a range of settings in between. The –:1 setting means that Group A will not fire, while Group B does fire. The 1:– setting means that Group A will fire, while Group B does not fire. The in-between settings range from 1:8, which means that Group A is 8 times less powerful than Group B, to 8:1, which means that Group A is 8 times more powerful than Group B. You can select 1:1 to make both flashes use equal TTL-based output power. Following is a list of all the settings in the Output (A:B) up/down menu:

   Output (A:B) Settings

   –:1, 1:8, 1:6, 1:4, 1:3, 1:2, 1:1.5, 1:1, 1.5:1, 2:1, 3:1, 4:1, 6:1, 8:1, 1:–

5. 5. Once you have arrived at the proper blend of flash output between Groups A and B, you can also add from +0.3 to –0.3 compensation, which affects both A and B equally. Additionally, you can use Group C in Manual (M) mode only. You can adjust the flash output in Group C from 1:1 (full power) to 1/256 (1/256th of full power) in 1/3 EV step increments. Group C in figure 7.22N is set to 1/16 –0.3, which is 1/3 EV step below 1/16 of full power. This allows you to use Group C as a fill flash group or as the primary group with Groups A and B providing blended and compensated fill flash. (Note: If you are using Radio AWL instead of Optical AWL, the screen shown in figure 7.22N will not have the Channel selection since that is controlled by a physical switch on the WR-R10 receiver.)
6. 6. Once you have configured the options, press or touch OK to lock in the settings.

Figure 7.22N: Quick wireless control options with adjustments

Remote Flash Control and (RPT) Remote Repeating Options

The Remote repeating options allow you to set up a creative strobing (multiple-exposure) effect with remote groups of Speedlight flash units.

This subsection continues where the choices found in figure 7.22J leave off. After you have chosen which AWL method you will use (Optical AWL or Radio AWL), you will need to choose the Remote flash control type named RPT Remote repeating. Then you must configure the Remote repeating options setting that shows below Remote flash control (figure 7.22O, image 3).

Figure 7.22O: Using Remote flash control and Remote repeating options

Use the following steps to set the RPT Remote repeating options:

1. 1. After having previously set the Wireless flash options in figure 7.22J, choose Remote flash control and scroll to the right (figure 7.22O, image 1).
2. 2. Choose the RPT Remote repeating setting and press the OK button or tap the option to select it (figure 7.22O, image 2). Please note that using a flash unit other than the SB-5000 will disable any changes to the Remote flash control function, leaving it set to GRP Group flash. No other Remote flash control setting is available unless you use the SB-5000 flash unit (or a compatible future flash unit).
3. 3. Your camera’s menu will now show the words Remote repeating options just below Remote flash control (figure 7.22O, image 3). Select Remote repeating options and scroll to the right.

Figure 7.22P: Remote repeating options for Optical and Radio AWL

1. 4. The final screen in the series (figure 7.22P)—which is the same screen as figure 7.22O, image 4—allows you to adjust the Remote repeating options. Scroll left or right to an item or touch it with your fingertip to select it for adjustment. Use the small yellow up/down arrows at the bottom of the screen to make adjustments to the currently selected item. You must enter three values to set up the strobing effect: Output—or how powerful the flash is—from 1/8 to 1/256 power; Times—or how many times the flash pulse fires—from 2 to 20 times; and Frequency—or how fast the flash pulse fires—from 1 to 100 pulses per second (Hz). On the lower part of the screen, you can control up to three Groups of remote Speedlights in manual mode, including Groups A–C in Optical AWL mode and Groups A–F in Radio AWL mode. You can use the Master flash (M) as an additional flash by setting it to On. Any Group set to On will participate in the repeating flash output. In both of the screens shown in figure 7.22P, only Groups A and B are active (set to ON). If you are using Optical AWL, you will need to choose a Channel (1–4) for the Master flash to transmit to the remote flashes. If you are using Radio AWL, the channel is set with a physical switch on the WR-R10 receiver unit.
2. 5. Once you have configured the options, press or touch OK to lock in the settings.

Radio Remote Flash Info

The Radio remote flash info function simply allows you to see the Speedlight unit being controlled by the WR-R10 receiver and which Group that flash is working under.

Figure 7.22Q: Radio remote flash info

Use the following steps to examine the Speedlights being controlled by radio transmitter unit:

1. 1. Follow the screen flow shown in figure 7.22Q, images 1 and 2 (Flash control > Radio remote flash info) until you arrive at the third screen in the series.
2. 2. The final screen (figure 7.22Q, image 3) shows that my Z7 is controlling a single SB-5000 Speedlight and it is using Group D to do so (D SB-5000). When you have examined your Speedlight configuration, press or touch OK to finish.

Note: Silent photography mode (page 307) disables the use of a flash unit powered by the camera.

Flash Mode

(User’s Manual: Page 130, Reference Manual: Page 185)

The Z7 has four Flash modes (in firmware C1.02), allowing you to create images using various styles of artificial or fill light. Let’s examine each of the flash modes and what they do. In figures 7.23A–7.23D, you will see the Flash information display screen, one of the i Menu screens, which will show you the various Flash mode symbols (figures 7.23A–7.23D).

Fill Flash (Front-Curtain Sync)

In Front-curtain sync mode (figure 7.23A, red arrow), the camera tries to balance the light if you’re using a lens that has a CPU in it. A CPU lens, such as a Nikkor G, D, E, or S lens, can balance ambient light and light from the flash equally and makes the lighting look very natural.

If you use this correctly outdoors, it will be hard to tell that you were using flash, except for the catch light in your subject’s eyes and the lack of damaging shadows. The flash simply fills in some extra light without overpowering the ambient light.

Figure 7.23A: Fill flash (front-curtain sync)

In a situation where there is very little ambient light, the camera will use only the flash to get a correct exposure. It balances with ambient light only if there is enough.

There is a side effect to using this mode with slow shutter speeds. Front-curtain sync causes the flash to fire as soon as the front shutter curtain is out of the way and before the rear shutter curtain starts closing. If there is some ambient light, the shutter speed is long (like 1/2 second), and the subject is moving, you’ll see a well-exposed subject with a blurry trail in front of it. The flash correctly exposes the subject as soon as the front curtain gets out of the way, but the ambient light continues exposing the subject before the rear curtain closes. This effect can be seen at shutter speeds as fast as 1/60s if the ambient light is strong enough and the subject is moving.

Use this Flash mode for general flash photography. Just keep the camera’s shutter speed at reasonable levels (1/60 to 1/250).

Red-Eye Reduction

Red-eye reduction mode (figure 7.23B, red arrow) causes the mounted Speedlight to flash a moderately bright strobe three times in the face of your subject before the Front-curtain sync flash fires. The intention is that the three extra flashes before the main flash burst will cause your subject’s pupils to close somewhat and reduce the red-eye effect. Otherwise, this mode performs the same as Front-curtain sync.

Figure 7.23B: Red-eye reduction

Slow Sync + Red Eye

Slow sync + red-eye combines two modes, Slow sync and Red-eye reduction, so you can take portraits indoors using ambient light while still using fill-flash to get rid of unwanted shadows (figure 7.23C, red arrow).

Figure 7.23C: Slow sync + red-eye

Slow sync flash causes the camera to fire three moderate bursts of light into your subject’s face to reduce red-eye, while allowing the camera to leave its shutter open for a normal nonflash exposure time to record ambient light. The main flash burst then fires to provide some fill flash for shadow reduction and to balance with the ambient light.

The exposure will be heavily influenced by ambient light with flash providing only balanced fill light. When you are shooting in a darker environment, you should have your camera on a tripod to prevent blurry pictures. Shutter speeds can get quite low while using this mode in low light because the camera considers ambient light more important than the flash fill light.

In low light, you should ask your subject to remain perfectly still, or there is a chance of subject ghosting.

Slow Sync

Slow sync mode lets the camera use ambient light to make a good exposure and then fires the flash to add some extra light, rounding out the shadows or better exposing a foreground subject (figure 7.23D, red arrow). Ambient light rules in this mode!

Figure 7.23D: Slow-sync

Use this mode in people shots outdoors or where you want ambient light to provide the primary exposure and you want the flash to add a sparkle to your subjects’ eyes and remove dark shadows from their faces. You can get some beautifully balanced outdoor portraits with Slow sync.

You normally don’t have to worry about red eye outdoors because ambient light is bright enough to constrict your subject’s pupils; therefore, this mode works well for natural-scene portraits. If red eye becomes a concern due to light levels dropping and subject pupils enlarging, switch to Red-eye reduction with slow sync mode instead (previous subsection).

Slow sync is closely related to Front-curtain flash, except that with Slow sync the ambient light is more important than the light from the flash. Be careful when using this mode indoors because it will expose for ambient light first and will only assist with some flash fill light.

You can get some terrible ghosting and blurry handheld shots when using Slow sync indoors in lower light levels. Use a tripod in low light.

Rear-Curtain Sync

Figure 7.23E: Rear-curtain sync

Rear-curtain sync (figure 7.23E, red arrows) is the opposite of Front-curtain sync. The flash waits to fire until just before the rear curtain starts to close. The entire shutter speed time just ends when the flash fires. This causes a ghosting effect to the rear of moving subjects when slower shutter speeds are used.

When you press the Shutter-release button, the front curtain opens, ambient light starts hitting the sensor, and the sensor starts recording the subject. Just as the shutter’s rear curtain is about to close, the flash fires, exposing the subject at its current position.

The subject was fully exposed by the flash at the end of the shutter speed time, so the ambient light had time to register the subject before the flash fired. If the subject is moving, this can produce a blurred ghost behind the well-exposed subject, if a slow shutter speed is used.

Note: In certain modes on the Mode dial (i.e., M and S), the word REAR will appear in the Flash mode box (figure 7.23E, image 1, red arrow). In other modes (i.e., A and P), the words SLOW and REAR will appear in the Flash mode box (red arrow). This is because the shutter speed is controlled by the camera in those A and P modes and the shutter speeds can get rather slow if needed, without your control. In M and S modes on the Mode dial, you control the shutter speed, so only the word REAR appears in the Flash mode box.

Flash Off

The No-flash mode disables the flash altogether so you can take pictures without the flash influencing the exposure (figure 7.23F, red arrow). This is the equivalent of removing the flash unit from the Accessory shoe or turning it off. It’s a nice way to temporarily disable the flash unit without removing it, while you take some ambient light pictures.

Figure 7.23F: Flash off

Next let’s see how to select a Flash mode and then discuss what each does. Nikon gives Z7 users three different ways to access the Flash mode settings. We’ll examine each.

Flash Modes from the Photo Shooting Menu

First, we’ll examine how to access and set a Flash mode using the Photo Shooting Menu.

Figure 7.23G: Selecting a Flash mode

Use the following steps to select a Flash mode:

1. 1. Choose Flash mode from the Photo Shooting Menu and scroll to the right (figure 7.23G, image 1).
2. 2. Highlight one of the four Flash modes from the list and press the OK button or tap on the option to select it (figure 7.23G, image 2).

Flash Modes from the i Menu

Next, let’s examine the second way the Z7 allows you to set one of the flash modes: choosing one from the i Menu.

Figure 7.23H: Selecting a Flash mode from the i Menu

Use the following steps to choose a Flash mode from the i Menu:

1. 1. Press the i button and the i Menu will open (figure 7.23H, image 1). Scroll to the Flash mode icon and press the OK button or tap the icon to open the Flash mode secondary screen.
2. 2. Highlight or touch one of the Flash mode symbols and press or touch OK to choose it (figure 7.23H, image 2).

Flash Modes from the Flash Information Screen

The i Menu also offers a third way to access the Flash modes: the Flash information screen.

Figure 7.23I: Flash modes from the Flash information screen

Use the following steps to choose a Flash mode from the i Menu’s Flash information screen:

1. 1. Press the i button and the i Menu will open (seen in figure 7.23I, image 1), then press the DISP button multiple times until the Flash information screen appears (figure 7.23I, image 1).
2. 2. Press the i button again and the Flash information menu will open (figure 7.23I, image 2). Choose Flash mode from the menu and press the OK button or tap the option to open the Flash mode secondary screen.
3. 3. Choose one of the Flash modes from the list of modes by highlighting it and pressing the OK button or by tapping on the option (figure 7.23I, image 3).

More information on using the special Flash information screen and menu is found in the chapter Camera Control Screens (page 30).

Settings Recommendation: I generally use the i Menu to directly choose the Flash mode I need at the moment. You may find the i Menu to be the fastest way to access the modes; however, there are two additional ways, as described above.

Most of the time I use Fill flash because it tends to balance so well with ambient light or provide artificial light when there is insufficient ambient light for a good exposure. However, I sometimes use Red-eye reduction when I am shooting individual or group pictures with direct flash. Rear curtain sync is fun to use when you want to have a ghosted trail following your subject when shooting with a slow shutter speed. No flash mode is there for when I need to temporarily disable the flash unit without turning the flash off or removing it from the camera.

Flash Compensation

(User’s Manual: Page 130, Reference Manual: Pages 186, 352)

Flash compensation allows you to control the brightness of your subject in relation to the background. By increasing the exposure on your subject, it becomes brighter while the background stays relatively the same. You can also choose to give less exposure to your subject relative to the background.

Basically, Flash compensation helps you balance the exposure of your subject and the background behind your subject, helping get rid of unwanted highlights or reflections. It is different from general camera +/− exposure compensation, which just averages the exposure for the entire frame. Flash compensation has more smarts when it comes to exposing your subject in relation to the background. Let’s see how to use it.

Figure 7.24: Flash +/− compensation

Use the following steps to add or subtract flash exposure on your subject:

1. 1. Choose Flash compensation from the Photo Shooting Menu and scroll to the right (figure 7.24, image 1).
2. 2. Use the up/down arrows to add up to +1.0 EV step or subtract down to −3.0 EV steps exposure for your subject, in 1/3-step increments. Press or touch OK to set the value.

Settings Recommendation: I find this to be a useful function when I am shooting some weddings and graduation ceremonies. If shooting a wedding in a darker environment, it is sometimes difficult to maintain detail in the bride’s white dress because the flash adjusts for a dark background and then slightly blows out detail in the dress. By taking a few test shots, you can determine if removing 1/3 to 1/2 steps of exposure will help maintain the detail. You get the idea. You have the power to control the flash exposure on your subject in relation to the background. Experiment with this setting so you can locate it and use it when needed.

Flash compensation can be assigned to a camera button, with Custom Setting f2 Custom control assignment (page 423) or to the i Menu with Custom Setting g1 Customize i menu (page 452).

Focus Mode

(User’s Manual: Page 130, Reference Manual: Pages 52, 186)

Focus mode allows you to control how the camera focuses on your subject. It can use three methods:

• Single AF (AF-S): This focus setting is best used for stationary or slowly moving subjects. The camera will obtain an initial focus and lock focus on the subject. If the subject moves, the focus may become invalid and will need to be updated.
• Continuous AF (AF-C): This focus method is best for rapidly moving subjects or subjects that rarely stop moving. The camera acquires focus but never locks the focus. Instead, it keeps trying to maintain good focus on your subject as long as your subject is under the current AF point area (see AF-area modes on page 264).
• Manual focus (MF): You must manually turn the focus ring on the lens to focus on the subject. Many people will use focus Peaking to assist with manual focusing. We will discuss focus Peaking when we talk about Custom Setting d10 Peaking highlights (page 409).

The camera gives us two menu systems to change focus modes, and the programmable Fn2 button is assigned to Focus modes as a factory default. Since we are working with the Photo Shooting Menu, let’s first examine how to select a focus mode with the Photo Shooting Menu and the i Menu, and then we will look into using the Fn2 button.

Figure 7.25A: Selecting a Focus mode from the Photo Shooting Menu

Use the following steps to choose a Focus mode from the camera’s Photo Shooting Menu:

1. 1. Choose Focus Mode from the Photo Shooting Menu and scroll to the right (figure 7.25A, image 1).
2. 2. Referring to the previous list, highlight a Focus mode and press the OK button or tap the mode to set it (figure 7.25A, image 2).

Next, let’s examine how to select the same Focus modes from the i Menu.

Figure 7.25B: Selecting a Focus mode from the i Menu

Use the following steps to select a Focus mode from the i Menu:

1. 1. Press the i button on the camera’s back to open the i Menu. Choose Focus mode by highlighting its symbol and pressing the OK button or by tapping the symbol (figure 7.25B, image 1). The secondary screen will open.
2. 2. Referring to the previous list, choose one of the Focus modes (AF-S, AF-C, or MF) by highlighting its symbol and pressing the OK button or by tapping the symbol (figure 7.25B, image 2).

Next let’s see how to use the assigned Fn2 button to access the Focus mode system.

Figure 7.25C: Using the Fn2 button to choose a Focus mode

Use the following steps to choose a Focus mode with external camera controls:

1. 1. Press and hold the Fn2 button on the front of the camera (figure 7.25C, image 1).
2. 2. Turn the rear Main command dial on back of the camera (figure 7.25C, image 2).
3. 3. The Monitor and EVF will display Focus mode symbols at the top (figure 7.25C, image 3, red arrow). The Focus mode will change as you rotate the rear Main command dial. When the Focus mode you want to use is displayed on the screen, stop turning the Main command dial and release the Fn2 button.

Note: See the chapter titled: Autofocus, AF Area, and Release Modes (page 82) for deeper information on using Focus modes and their relationship with the AF-area and Release modes.

Settings Recommendation: Most of the time, I find myself using Single AF (AF-S) focus mode. I do a lot of nature photography and landscapes. I find that a single, well-placed focus point allows me to control the focus for the most important area of my subject, allowing me to use the camera’s aperture to control depth of field to cover the zone of sharp focus I need for my subjects.

However, those who are shooting moving subjects may need a little more help with keeping a subject in good focus. AF-C allows you to make the autofocus system maintain focus on a moving subject. You may need to also experiment with various AF-area modes since they control what area of your subject is covered by focus points. There is a very strong relationship between the Focus modes and the AF-area modes. Study the chapter that discusses those subjects and then experiment, for better understanding.

Sometimes, especially when I am shooting macro shots, I like to manually focus the camera so I will use the MF mode. Or, I will touch up the focus by turning the focus ring on the lens after autofocus has been established. I always use focus Peaking in those cases so I can easily see exactly where the focus is sharpest on my subject. You will need all these focus modes at one time or another. Learn them well!

AF-Area Mode

(User’s Manual: Page 131, Reference Manual: Pages 54, 186)

The AF-area mode system allows you to choose a single focus point (AF point), or a group of AF points selected from the camera’s 493 AF points, to cover your subject and help capture it in sharp focus. The available AF point(s) are surrounded by a red frame, dots, or a partial frame, to give you some idea of the area covered by the AF point(s).

In figure 7.26A you will see six camera screens. Each screen shows the symbol of one of the available AF-area modes (upper red arrow) and the area of the subject the AF point(s) cover (lower red arrow). Let’s examine each of the AF-area modes.

Figure 7.26A: AF-area modes

Here is a description of each of the AF-area modes. The numbers in the list match the numbers in figure 7.26A, images 1–6:

1. 1. Pinpoint AF: This mode allows you to choose a very small area of your subject for autofocus. You can move the AF point to the pupil of an eye or a drop of water on a leaf. It is made to give you precise autofocus so that you can focus on very specific areas. This mode does not use phase detection (PDAF): instead it uses contrast detection (CDAF) only, which is slower to focus yet very accurate. Pinpoint AF AF-area mode is available only when you are using the Single AF (AF-S) Focus mode. It is grayed out on the Photo Shooting Menu and not available on the i Menu if the camera is using Continuous AF (AF-C).
2. 2. Single-point AF: This is the preferred mode for many photographers. It has an AF point frame that is larger than the Pinpoint AF frame. This mode uses PDAF initially and tops off the focus by using CDAF for focus verification. It is much faster and still allows precise location of focus within the 493 AF points in the frame. Single-point AF AF-area mode is available in both AF-S and AF-C Focus modes.
3. 3. Dynamic-area AF: This mode provides a nine-AF-point frame that can be moved within the 493 AF points in the frame. It uses a center active AF point, like Single-point AF, but it surrounds that AF point with eight additional points that are on high alert. If you or the subject move and the active center AF point loses the subject, one of the surrounding AF points can recapture the subject. Dynamic-area AF AF-area mode is available for still photography only, not video. Also, this AF-area mode is not available when you have the camera set to AF-S Focus mode. You must use AF-C Focus mode or Dynamic-area AF will be grayed out on the Photo Shooting Menu and not available on the i Menu.
4. 4. Wide-area AF (S): This mode works in a similar manner to Single-point AF except that it has a wider group of AF points in its frame. As you can see, the focus frame is larger in figure 7.26A, image 4, compared to Single-point AF in image 2. Wide-area AF (S) AF-area mode is available in both AF-S and AF-C Focus modes.
5. 5. Wide-area AF (L): This mode also works in a similar manner to Single-point AF except that it has a much wider group of AF points in its frame. You can see that the focus frame is significantly larger in figure 7.26A, image 5, compared to Wide-area AF (S) in image 4. Wide-area AF (L) AF-area mode is available in both AF-S and AF-C Focus modes.
6. 6. Auto-area AF: This mode gives full control of the AF system to the camera. The entire 493-point frame is involved in autofocus. The camera will choose a combination of AF points within the frame to get best focus on your subject. You will see groups of rectangles marking the areas the camera is using for autofocus. If a human face is detected in the frame, a yellow square will surround the face and attempt to focus on that face. If multiple people are in the frame, the yellow square for the active face will add a directional arrow beside the yellow frame. This indicates that you can choose another face for best focus by scrolling with the Multi selector. If you want to choose just one person or some other subject to track, you can press the OK button and choose some part of your subject with the small white frame (targeting reticule) that appears and then press the OK button again—or the AF-ON button. The camera will activate Subject tracking and will attempt to track a moving subject with the white frame. Press OK again to stop Subject tracking. Auto-area AF AF-area mode is available in both AF-S and AF-C Focus modes.

Now let’s consider how to choose an AF-area mode. Similar to choosing a Focus mode in the last section, there are three ways to choose your favorite AF-area mode: on the Photo Shooting Menu, on the i Menu, and with the Fn2 button.

Figure 7.26B: AF-area modes on the Photo Shooting Menu

Use the following steps to choose an AF-area mode from the camera’s Photo Shooting Menu:

1. 1. Choose AF-area Mode from the Photo Shooting Menu and scroll to the right (figure 7.26B, image 1).
2. 2. Referring to the previous list, highlight an AF-area mode and press the OK button or tap the mode to choose it (figure 7.25B, images 2 and 3). The AF-area mode secondary screen offers choices according to whether you are using AF-S Focus mode or AF-C Focus mode. Images 2 and 3 are the same screen, showing your choices when the camera is using different Focus modes. Grayed-out AF-area mode items are not available in that particular Focus mode.

Next, let’s examine how to select the same AF-area modes from the i Menu.

Figure 7.26C: AF-area modes on the i Menu

Use the following steps to select an AF-area mode from the i Menu:

1. 1. Press the i button on the camera’s back to open the i Menu. Choose AF-area mode by highlighting its symbol and pressing the OK button or by tapping the symbol (figure 7.26, image 1). The secondary screen will open.
2. 2. Referring to the previous list, choose one of the AF-area modes by highlighting its symbol and pressing the OK button or by tapping the symbol (figure 7.26C, images 2 and 3).
3. 3. As with the Photo Shooting Menu, the camera will present choices according to which Focus mode (AF-S or AF-C) you selected in the previous chapter section.

Next let’s see how to use the assigned Fn2 button to access the Focus mode system.

Figure 7.26D: Using the Fn2 button to choose an AF-area mode

Use the following steps to choose an AF-area mode with external camera controls:

1. 1. Press and hold the Fn2 button on the front of the camera (figure 7.26D, image 1).
2. 2. Turn the Sub-command dial on the camera’s front handgrip (figure 7.26D, image 2).
3. 3. The Monitor and EVF will display AF-area mode symbols at the top (figure 7.26D, image 3, red arrow). The AF-area mode will change as you rotate the front Sub-command dial. When the AF-area mode you want to use is displayed on the screen, stop turning the Sub-command dial and release the Fn2 button.

Note: See the chapter titled Focus, AF Area, and Release Modes (page 89) for deeper information on using AF-area modes and their relationship with the Focus and Release modes.

Vibration Reduction

(User’s Manual: Page 131, Reference Manual: Pages 110, 186)

Vibration reduction (VR) attempts to counteract small movements of the camera due to shaky hands or slow shutter speeds. It is designed to keep the image sharp while using up to five stops slower shutter speeds than normal. For instance, if you can handhold a camera and get sharp images at 1/60 second, then, if you are careful, you may be able to handhold the camera and get comparatively sharp images at 1/2 second.

Therefore, if you normally use the reciprocal of focal length rule and shoot handheld at a minimum of 1/500 second with a 500mm lens, you may be able to get sharp images of static subjects at 1/15 second. I am sure that is pushing things a bit, but the point is that IBIS VR allows you to get sharp images where you normally would have to use a tripod.

Figure 7.27A: In-body image stabilization (IBIS), aka Vibration reduction (VR) [image © Nikon]

The Vibration reduction function is different in Nikon Z cameras compared to Nikon DSLRs. Current Nikon DSLRs do not have in-body image stabilization (IBIS), where the Z cameras do. IBIS is a vibration reduction (VR) system where the sensor assembly can move in up to 5-axes to counter camera vibration (figure 7.27A): left and right (X), up and down (Y), pitch, yaw, and roll. Best results are achieved when using Nikkor Z-mount lenses. If you are using an F-mount, AF-S Nikkor lens on an FTZ adapter, the camera provides up to 3-axis IBIS (pitch, yaw, and roll).

Vibration reduction for Nikon DSLRs is handled within Nikkor lenses marked with the VR symbol only. At the time of this book’s publication, there are no Nikon DSLR bodies using IBIS. Even if IBIS VR were developed for Nikon DSLRs, it would not be possible to see its effects in an optical viewfinder the same way you can see the effects of VR in a Nikkor lens, although IBIS would still work great for image stabilization.

With a Z camera, when you are using a Nikkor lens with VR built in, the camera and lens communicate and work together to get the best vibration reduction. Let’s see how to choose the best IBIS VR for your needs.

Vibration Reduction Modes

There are two VR modes available, along with Off (no VR). Let’s examine what each mode is designed to accomplish:

• On Normal: This mode is designed for shooting static subjects. If you are handholding the camera, or it is on a wobbly tripod or on a monopod, this is the best mode to use. Do not use IBIS VR when on a solid tripod or unexpected results might occur (e.g., odd-looking background effects).
• SPT Sport: This mode is designed for shooting sports where subjects are moving rapidly and unpredictably. Use this mode for panning. The Z7 will detect when you are panning with your subject and turn off IBIS for horizontal movement. It will correct for vertical movement only when panning. When the subject stops moving and panning ceases, IBIS will again work for both horizontal and vertical vibration reduction.
• Off: The camera disables the IBIS system for the Z7 and Z-mount lenses.

The Vibration reduction menu item on the Photo Shooting Menu and in the i Menu will become grayed out and unavailable when an AF-S Nikkor lens with VR is mounted on the camera with the FTZ adapter. To control VR in that case, simply use the VR On/Off switch found on the side of Nikkor VR lenses. The VR On/Off switch will enable in-lens and in-body image stabilization at the same time. When a Nikkor lens having no VR (e.g., AF-S Nikkor 50mm f/1.4G) is mounted, the Vibration reduction menus become available again.

Now, let’s see how to choose an IBIS VR mode from the Shooting Menu and the i Menu.

Figure 7.27B: Selecting an IBIS VR mode from the Photo Shooting Menu

Use the following steps to choose a Vibration reduction mode from the camera’s Photo Shooting Menu:

1. 1. Choose Vibration reduction from the Photo Shooting Menu and scroll to the right (figure 7.27B, image 1).
2. 2. Referring to the previous list, highlight a Vibration reduction mode and press the OK button or tap the mode to select it (figure 7.27B, image 2).

Next, let’s examine how to select the same Vibration reduction modes from the i Menu.

Figure 7.27C: Selecting an IBIS VR mode from the i Menu

Use the following steps to select a Vibration reduction mode from the i Menu:

1. 1. Press the i button on the camera’s back to open the i Menu. Choose a Vibration reduction mode by highlighting its symbol and pressing the OK button or by tapping the symbol (figure 7.27C, image 1). The secondary screen will open.
2. 2. Referring to the previous list, choose one of the Vibration reduction modes (i.e., OFF, ON, SPT) by highlighting its symbol and pressing or touching OK (figure 7.7C, image 2).

Settings Recommendation: In my experience with my Nikon Z7, I can regularly get sharp images of static subjects at 1/6 second. With a little bracing against something, I have created sharp images in the 1 to 2 second range.

Another of the marvelous things about IBIS in the Z7 is that it will work for virtually any lens mounted on the camera or on an adapter. Even older F-mount, manual focus AI and AI-S lens favorites, along with non-VR autofocus lenses, will have IBIS.

Auto Bracketing

(User’s Manual: Page 131, Reference Manual: Page 187)

Auto bracketing set lets you choose how bracketing works for each of the camera’s bracketing methods. You can set up bracketing for the exposure system (AE), flash, White balance (WB), and Active D-Lighting (ADL).

Let’s start by reviewing the five types of bracketing on the Z7. I’ll explain how to use bracketing in an upcoming subsection:

• AE & flash bracketing: When you set up a session for bracketing, the camera will cause any type of normal pictures you take to be bracketed, whether they are standard exposures or you are using flash. See how to bracket in the next subsection.
• AE bracketing: Your bracketing settings will affect only the camera exposure system and not the flash.
• Flash bracketing: Your bracketing settings will affect only the flash system and not the camera exposure.
• WB bracketing: White balance bracketing works the same as exposure and flash bracketing, except it is designed for bracketing color in mired values, instead of bracketing light in EV step values. WB bracketing is not available with image quality settings of NEF (RAW) or NEF (RAW) + JPEG.
• ADL bracketing: In this case, you are bracketing Active D-Lighting (ADL) in up to five separate exposures. The next higher level of ADL is used on each selected exposure.

AE & Flash Bracketing (Includes AE Only and Flash Only)

AE & flash bracketing (exposure bracketing) allows you to bracket a series of images using ambient light and/or a Speedlight flash unit. You can later combine these images into a high dynamic range (HDR) image with greater than normal dynamic range, as seen in figure 7.28A.

Figure 7.28A: Five-image bracket combined in Photomatix Pro to a single HDR image

In figure 7.28A you will find a sample five-image bracket with 1.0 EV step between each exposure. I combined the five images using Photomatix Pro software (www.hdrsoft.com) and was pleased with the final result. The main image was created with a bracketed series of five shots (the pictures underneath the main image) using the same settings shown on the Information display screen in figure 7.28C, image 1, as discussed in step 4 of the bracketing step-by-step method.

AE & flash bracketing, AE bracketing, and Flash bracketing all use bracketing in exactly the same manner and are all considered in this one section.

Figure 7.28B: AE and flash bracketing (top three types in screen 2)

Here are the steps to configure AE and flash bracketing for results similar to what is seen in figure 7.28A:

1. 1. Select Auto bracketing from the Photo Shooting Menu and scroll to the right (figure 7.28B, image 1).
2. 2. Highlight Auto bracketing set and scroll to the right (figure 7.28B, image 2). We will return to this screen for further adjustments after we have selected the type of bracketing we want to do.
3. 3. Choose AE & flash bracketing, AE bracketing, or Flash bracketing and press the OK button or tap the item to lock in the setting (figure 7.28B, image 3).
4. 4. The camera will return to the screen shown in figure 7.28B, image 2. We will now make adjustments to the Number of shots and Increment (or Amount for ADL) subsettings (figure 7.28B, image 4).

Figure 7.28C: Auto bracketing (AE & flash)

1. 5. Figure 7.28C continues where figure 7.28B ends. We will now adjust the Number of shots and Increment subsettings. Highlight the item you want to change and scroll left or right with the Multi selector or tap on the left/right arrows to change the value. The symbols will initially be Number of shots: 0F and Increment: 1.0 (if not previously changed), and there may be no lines hanging below the −/+ scale. You will set both of those values as you create the bracket. The number of shots in the bracket appears at the end of the Number of shots line (e.g., 5F, −2F, and +3F) as shown in each screen in figure 7.28C. The amount of exposure difference appears at the end of the Increment line (e.g., 1.0, 0.3, and 2.0). Number of shots can be set to as many as 9 frames (9F) in an AE & flash bracketing, AE bracketing, or Flash bracketing bracket, and the Increment of exposure difference can range from 0.3 EV to 3.0 EV steps between frames. The number of small vertical lines hanging below the −...... 0 ......+ scale equals the number of shots in the bracket. The position of those lines represents the EV spread of the shots in the bracket. In figure 7.28C, image 1, for instance, you can count five lines hanging below the −/+ scale, and there is one stop of exposure between each line. Those five shots are represented by the 5F in image 1, and the 1.0 after Increment represents the 1 EV step (1 stop) exposure differential between each frame.
2. 6. The Number of shots value can have a plus sign (+3F), minus sign (−2F), or no sign (5F) next to it (figure 7.28C). Select a number with a plus sign if you want the bracket to take only normal and overexposed shots. Select a number with a minus sign if you want the bracket to take only normal and underexposed shots. If you want the bracket to take exposures that are evenly distributed on both sides of the scale, select a number that has no plus or minus sign in front of it.
3. 7. As previously mentioned, the Increment value controls the EV steps between each exposure in the bracket. This value appears at the right of Increment on each screen in figure 7.28C as 1.0, 0.3, and 2.0. You can select an EV step value between each image in the bracket, in steps of 1/3, and 1/2 EV. (The EV step value is set in Custom Setting Menu > b Metering/exposure > b2 EV steps for exposure cntrl. You can use Custom Setting Menu > e Bracketing/flash > e7 Bracketing order to set the order of the exposures. Once you have entered all the values you want to change, press or touch OK to lock in the values. We’ll discuss this in chapter 9 in the section titled Custom Setting e7: Bracketing Order (page 421). The default order is normal > underexposed > overexposed. You can change it to underexposed > normal > overexposed if you’d like.) Following are detailed explanations of the values on images 1, 2, and 3 of figure 7.28C:
   1. Figure 7.28C, image 1 shows a five-shot bracket with 1.0 EV step between each image. You can tell there are five shots by the 5F at the top center along with the number of lines hanging below the scale. The 1.0 means that there is 1.0 EV step (1 stop) between each exposure in the bracket. The fact that the 5F has no plus or minus sign in front of it tells us that the bracket uses exposures that are normal, overexposed, and underexposed.
   2. Figure 7.28C, image 2 shows a two-image bracket with 0.3 EV steps (1/3 stop) between each exposure. Notice the minus sign before the 2F symbol (−2F). This means that the bracket is configured to take only normal and underexposed shots—no overexposed ones. The bracketed images are on the minus side of the −/+ scale.
   3. Figure 7.28C, image 3 represents a three-image bracket with 2.0 EV steps between each exposure. The bracket is configured to take only normal and overexposed shots as indicated by the plus sign (+3F).
4. 8. Figure 7.28D shows the camera’s screen with the symbols for AE & Flash bracketing [AE BKT] (upper red arrow) and the +/− scale (lower red arrow). The +/− scale looks like a normal exposure scale; however, it is actually a bracketing scale in this instance. Once you have configured your bracket, press the Shutter-release button to take each bracketed picture in the series. Figure 7.28D’s symbols (5 lines sticking out from the left of the +/− scale) show that this bracket is for 5 frames (5F), with both two overexposed (+) images, one normal exposure (0), and two underexposed (−) images in the bracket. As you take each image, one of the lines that stick out to the left of the −/+ scale will disappear and the first number in the 5/5 next to AE BKT will reduce by one until all the frames are captured. When they are all gone (0/5), your bracket is complete. If you have your camera set to Continuous L or Continuous H release mode, you can shoot the all of frames in your bracket by holding down the Shutter-release button. Once the bracket is complete (all the lines are gone), the camera will stop firing.

Figure 7.28D: Capturing the bracketed images

Note about flash bracketing: If you are using a Speedlight flash unit to light the bracketed series, it may or may not be able to keep up with bracketed shots taken in Continuous-release mode. If you fully dump the flash power between shots, you’ll have to wait for the next shot.

Settings Recommendation: I normally bracket with a 1 EV step value (1 stop) so I can get a good spread of light values in high dynamic range (HDR) images. In most cases, I will do a three- to five-image bracket, with one or two images overexposed and one or two images underexposed by 1 stop. This type of bracketing allows me to combine detail from the highlight and dark areas in-computer for the HDR exposures everyone is experimenting with these days.

WB Bracketing

The process for WB bracketing (white balance bracketing) is similar to the process for flash or exposure bracketing; you even use the same controls. No form of AE or flash bracketing will work during the time that Auto bracketing set is set to WB bracketing.

WB bracketing does not work when your camera is in NEF (RAW) and NEF (RAW) + JPEG modes. In fact, the bracketing controls will not even respond unless you are using a JPEG only mode because White balance information is stored with the RAW image but is not directly applied to the image. You can change the White balance after the fact when you are shooting RAW, so bracketing a RAW image does not make sense.

Now let’s examine how to select WB bracketing, and then bracket the white balance.

Figure 7.28E: Auto bracketing set – WB bracketing

Here are the steps to configure WB bracketing:

1. 1. Select Auto bracketing from the Photo Shooting Menu and scroll to the right (figure 7.28E, image 1).
2. 2. Highlight Auto bracketing set and scroll to the right (figure 7.28E, image 2). We will return to this screen for further adjustments after we have selected the type of bracketing we want to do.
3. 3. Choose WB bracketing and press the OK button or tap the option to lock in the setting (figure 7.28E, image 3).
4. 4. The camera will return to the screen shown in figure 7.28E, image 2. We will now make adjustments to the Number of shots and Increment (or Amount for ADL) subsettings (figure 7.28E, image 4).

Figure 7.28F: WB bracketing (White balance)

1. 5. Choose the number of shots in the bracket, examples of which are 3F, A3F, or B3F, as seen in figure 7.28F at the end of the Number of shots line. Press left or right on the yellow arrows, or scroll with the Multi selector pad, to select the number of shots, up to nine shots total (9F). In figure 7.28F, the 3F, A3F, and B3F symbols show the number of images (3), as do the lines hanging below the +/+ scale. Table 7.1 and step 4 describe what these mean.

Table 7.1: Camera display symbols, number of shots, amber/blue changes, and bracketing order

1. 6. You control the white balance color differences by bracketing toward amber or blue (A or B), using the symbols on the screen, as described in table 7.1. Each increment of color difference is called a mired and is controlled by the number displayed at the end of the Increment line, in figure 7.28F (i.e., 1, 3, 2). Change the mired Increment number by tapping the left or right yellow arrows or by scrolling with the Multi selector pad. Each number represents multiple mired. Choose 1, 2, or 3, where 1=5 mired, 2=10 mired, and 3=15 mired. Figure 7.28F, image 1, shows a 5 mired difference (1), image 2 shows a 15 mired difference (3), and image 3 shows a 10 mired difference (2). Once you have entered all the values you want to change, press or touch OK to lock in the values. Following are detailed explanations of the values on images 1, 2, and 3 of figure 7.28F:
   1. Figure 7.28F, image 1 shows a three-image bracket, with a 5 mired difference (1) in color between each image. One has more amber, one is normal, and one has more blue (3F).
   2. Figure 7.28F, image 2 shows a three-image bracket with a 15 mired difference (3) between each image, in the amber direction only (A3F).
   3. Figure 7.28F, image 3 shows a three-image bracket with a 10 mired color difference (2) in the blue direction only (B3F). If you do not see an A (A3F) or B (B3F) in the Number of shots position (e.g., 3F), it simply means that the bracket goes in both directions, such as amber > normal > blue or normal > amber > blue, according to how you have Custom Setting Menu > e Bracketing/flash > e7 Bracketing order set.
2. 7. Press the Shutter-release button to take the bracketed picture series. Interestingly, you do this by taking just one picture. The camera takes that picture, reapplies the color filtration for each image in the bracket, and then saves each image as a separate image file with a new consecutive file number and bracketed color value. This works very differently from AE or flash bracketing, where you have to fire off each individual frame of the bracket. WB bracketing is very easy because you only have to set up the bracket and take one picture. The series of images in the bracket (up to nine) simply appears on your memory card. Nikons are fun!

ADL Bracketing

ADL bracketing (ADL stands for Active D-Lighting) is designed to let you shoot a normal image and then a series of up to four additional images with Active D-Lighting applied to each at progressively higher levels.

As you set ADL bracketing from two to five shots, you are setting the camera to switch to a higher ADL level for each consecutive shot. The progressive levels are Off, L Low, N Normal, H High, and H* Extra High.

Figure 7.28G: Auto bracketing set – ADL bracketing

Here are the steps to use ADL bracketing:

1. 1. Select Auto bracketing from the Photo Shooting Menu and scroll to the right (figure 7.28G, image 1).
2. 2. Highlight Auto bracketing set and scroll to the right (figure 7.28G, image 2). We will return to this screen for further adjustments after we have selected the type of bracketing we want to do.
3. 3. Choose ADL bracketing and press the OK button or tap the option to lock in the setting (figure 7.28G, image 3).
4. 4. The camera will return to the screen shown in figure 7.28G, image 2. We will now make adjustments to the Number of shots and Amount subsettings.
5. 5. Figure 7.28G, image 4, shows a bracket of five frames (5F), which means the camera will use all five available levels of Active D-Lighting (Off, L Low, N Normal, H High, and H* Extra high) as the five images are taken (Auto Active D-Lighting is ignored). You will also see the Amount field, which shows the full progression of the ADL bracket (OFF L N H H*), which stands for Off (OFF), Low (L), Normal (N), High (H), and Extra high (H*). Once you have entered all the values you want to change, press or touch OK to lock in the values.
6. 6. Press the Shutter-release button to take each shot in the bracketed series. If you have your camera set to one of the Continuous-release modes (CL or CH), and are using AE & Flash bracketing, AE bracketing, Flash bracketing, or ADL bracketing—but not WB bracketing—you can shoot all frames in your bracket by holding down the Shutter-release button. Once the bracket is complete, the camera will stop firing.

Settings Recommendation: This is a great way to capture important shots and try to get extra shadow detail and highlight protection in some of them. You may not need ADL bracketing on all shots, but on important images where you are slightly off on your exposure selection, ADL will help to open shadows and mildly protect the highlights. Of course, if you shoot in RAW mode, you can apply ADL in-computer. I don’t bracket ADL very often, but I’m glad to know it’s there when I need it.

Note concerning all bracketing types: One final note about bracketing of any type: Turn it off when you’re done by setting Number of shots to 0F! I often forget and then wonder why my camera keeps under- and overexposing a series of images. Only after wasting several images do I realize I left bracketing turned on. You’ll see what I mean if you use AE & flash bracketing often, as I do.

Multiple Exposure

(User’s Manual: Page 131, Reference Manual: Page 197)

Multiple exposure is the process whereby you take more than one exposure on a single frame, or picture. Multiple exposure normally requires you to figure out the exposure values carefully for each exposure segment so that in the final picture, all the combined exposures equal one normal exposure. In other words, if you are going to create a nonmasked double exposure, your background will need two exposures at half the normal exposure value to equal one normal exposure.

The Z7 allows you to figure out your own exposure settings and input them manually, or you can use the Overlay mode to help with exposure calculations.

There are five steps to setting up a Multiple-exposure session, which we will examine in detail. The basic steps are as follows:

• Choose whether you are shooting one multiple-exposure image or a series of images.
• Select the number of individual shots you want to take, which will be combined into a multiple-exposure image.
• Select an Overlay mode to determine how you want to control exposure.
• Decide whether to keep the intermediate images that are combined to create the single multiple-exposure image, or delete the intermediate images and keep only the single multiple-exposure image.
• Optional step: You can choose a previously taken image as the first image in the multipleexposure series.
• Shoot the pictures that the camera will combine into one multiple-exposure image.

Let’s discuss how to implement these steps. First, we will examine a simple double—exposure combination (figure 7.29A).

Figure 7.29A: Double-exposure image

In figure 7.29A, image 1, you see the first of two pictures that will be combined to create the third picture. The first picture received 1/2 of a normal exposure. The tall red flashlight was placed in front of the small battery and the picture was taken. The second image also received 1/2 of a normal exposure with the red flashlight removed. Image 3 is images 1 and 2 combined. Since the blocks and large battery received 1/2 exposure twice (1/2 exposure in two images), they are recorded with one full exposure in the combined picture. However, the red flashlight was in the first image only and received only 1/2 exposure, so it is somewhat transparent in the third image, allowing you to see the small battery through the flashlight.

Note: For my Multiple exposure sequence, I used Multiple exposure mode: On (single photo), Number of shots: 2, Overlay mode: Average (AVG), Keep all exposures: On, and Overlay shooting: On. If you choose to enable Keep all exposures, the individual intermediate exposures will be fully exposed, but will be combined at some fraction of their normal exposure value to create the single multiple exposure image. That’s why the individual images in figure 7.29A, images 1 and 2, do not look underexposed, even though the camera is truly using only 1/2 exposure for each image. For more information about Keep all exposures, see the downloadable document titled How Does “Keep All Exposures” Work? on the downloadable resources website: http://rockynook.com/NikonZ7.

Now let’s discuss the multiple-exposure settings.

Figure 7.29B: Setting up Multiple exposure basics

Use the following steps to configure one or a series of multiple exposures:

1. 1. Select Multiple exposure from the Photo Shooting Menu and scroll to the right (figure 7.29B, image 1).
2. 2. Choose Multiple exposure mode from the Multiple exposure menu and scroll to the right (figure 7.29B, image 2).
3. 3. Now choose whether you want one multiple exposure sequence or a series of multiple exposure sequences (figure 7.29B, image 3). If you choose On (single photo) the camera will automatically set Multiple exposure mode to Off after you have created one multiple-exposure picture. If, instead, you choose On (series) the camera will stay in Multiple exposure mode, allowing you to create many multiple exposures, until you manually set it to Off with this setting (image 3). Press the OK button or tap the option to lock in your choice.

Figure 7.29C: Choosing the Number of shots in the multiple exposure

1. 4. Select Number of shots and scroll to the right (figure 7.29C, image 1).
2. 5. Use the up/down menu to choose the number of individual shots that will be combined into a final multiple-exposure picture (figure 7.29C, image 2). Select a number from 2 to 10 and then press or touch OK to save the setting.

Figure 7.29D: Choosing an Overlay mode for proper exposure

1. 6. Select Overlay mode and scroll to the right (figure 7.29D, image 1).
2. 7. Select one of the Overlay modes, as discussed in table 7.2, and press the OK button or tap your selection (figure 7.29D, image 2).

Table 7.2: Overlay mode choices and descriptions

Figure 7.29E: Keep (or not) the individual images that make up the multiple exposure

1. 8. Choose Keep all exposures from the menu and scroll to the right (figure 7.29E, image 1).
2. 9. Select On if you want to keep each of the intermediate images that are combined into the final multiple-exposure picture. An example of these intermediate images is seen in figure 7.29A, images 1 and 2. If you do not have a use for the intermediate images, select Off and the camera will keep only the final combined multiple-exposure image. Press the OK button or tap the option to lock in your choice.

Figure 7.29F: Overlay shooting – see superimposed earlier images

1. 10. Choose Overlay shooting from the Multiple exposure menu and scroll to the right (figure 7.29F, image 1).
2. 11. If you want to see earlier images in the sequence superimposed over the view through the lens, select On. Otherwise, select Off. Press the OK button or tap the option to save the setting (figure 7.29F, image 2).

Figure 7.29G: Select the first image included in a multiple-exposure picture (optional)

1. 12. Please note: This is an optional step and is not required for normal multiple-exposure images. You may use this special setting to start with a previously taken primary image to which other intermediate images will be added. Highlight Select first exposure (NEF) and scroll to the right (figure 7.29G, image 1).
2. 13. Choose a NEF (RAW) image to use as the first image in the group of intermediate images (figure 7.29G, image 2). Although other intermediate images can be JPEG images, this first one must be a NEF (RAW) image. Once you have selected a RAW image to use as a base, press or touch OK and the camera will return to the main Multiple exposure screen, ready to start the Multiple exposure sequence. If you are creating a fresh multiple exposure picture, you can safely skip steps 12 and 13.

Once you’ve selected the basic values for Multiple exposure mode, the camera will remember your multiple exposure settings, and you may reuse them for the next session.

Note: If you do a lot of multiple exposures, you can assign one of the camera’s programmable buttons to allow you to select Multiple exposure settings with external camera controls. We will consider how in the chapter Custom Setting Menu, under the subheading f2 Custom control assignment (page 423).

Changes During a Multiple-Exposure Session

Nikon has provided an i Menu with action choices that allow you to modify a multiple exposure session—one with at least three images in the sequence—that is in progress (figure 7.29H). Here is a description of each:

• View progress: Allows you to see a preview of the multiple exposure at the current point.
• Retake last exposure: If you are unhappy with the latest intermediate exposure, you can ask the camera to discard and retake the exposure.
• Save and exit: Stops the multiple-exposure session at the current point and assembles the final picture from images taken so far.
• Discard and exit: Exits the multiple-exposure session and throws away the current multiple-exposure picture. If you previously set Keep all exposures to On, the camera will not throw away the intermediate images.

Figure 7.29H: Multiple exposure i menu.

Use the following steps to access and use the multiple-exposure i Menu:

1. 1. While a multiple exposure is in session and you have taken at least two intermediate images, press the Playback button (). This will open the last of the intermediate images so you can see it on the Monitor.
2. 2. Press the i button and the menu in figure 7.29H will display.
3. 3. Make your selection and press the OK button to proceed with one of the self-explanatory actions, or press the i button again to cancel and return to the current multiple-exposure session.

Settings Recommendation: Multiple exposure images can be a lot of fun to create. I often shoot Multiple exposure images with two people in the frame. One person leaves after the first half of the exposure is taken, while the other carefully stays still. When finished, you will have a normal picture of one person and the background, but the person who left halfway through the Multiple exposure will be ghosted (figure 7.29I). That means you’ll be able to see the background right through them. It’s even more fun if you have the person who leaves touch the other person during the first half of the Multiple exposure. Maybe have them put a hand on the other person’s shoulder or wrap their arms around him.

If the person who stays for the entire exposure is very careful not to move at all, they will remain sharp and the image will certainly raise eyebrows later.

You can also do this with just one person, as the second picture in figure 7.29I shows. Just make sure they leave halfway through the Multiple exposure.

Figure 7.29I: Sample double-exposure images

HDR (High Dynamic Range)

(User’s Manual: Page 131, Reference Manual: Page 204)

HDR (high dynamic range) directs the camera to combine two JPEG or TIFF exposures into a single image. It is not available in NEF (RAW) modes.

HDR combines details from an underexposed shot and an overexposed shot into one well-exposed picture with much greater dynamic range than normal. In figure 7.30A, you can see a sample. The two images on the left were combined, in-camera, to create the third image.

Figure 7.30A: HDR combination sample

HDR (high dynamic range) in the Z7 is a form of bracketing that allows you to create an HDR image without setting up a bracketing series. There are three settings to choose from under HDR (high dynamic range):

• HDR mode: This setting has three options: On (series), On (single photo), and Off. When On (series) is selected, the camera will keep shooting its two-image HDR brackets until you set HDR mode to Off. When On (single photo) is chosen, the camera will make a single HDR bracket for one image (figure 7.30A). Off means the camera does not create an HDR image.
• Exposure differential: You can choose how many stops (EV) there will be between the two images that are later combined. The choices are 1 EV, 2 EV, 3 EV, and Auto. Use 1, 2, or 3 EV when you want to make the decision; choose Auto when you want to let the camera decide. If you control the amount of Exposure differential, be careful to choose only what is needed or you may experience under- or overexposure in the final combined image. If a two-image exposure bracket is insufficient, you may want to investigate the exposure bracketing system connected to the BKT button. (Note: We previously discussed how to use the camera’s bracketing system in this chapter under the heading Auto Bracketing [page 269]. With it you can do up to a nine-shot bracket.)
• Smoothing: This allows you to choose smoothing for the boundaries between the two images. Three choices are available: Low, Normal, and High. Each subject’s boundaries are different, so you may have to experiment with these settings. Higher values make a smoother combined image. Watch out for uneven shading with some subjects.

Figure 7.30B: Choosing an HDR mode

First, let’s examine how to configure the three settings and prepare for HDR imaging. Use these steps to enable HDR mode for a single picture or a series:

1. 1. Follow the screen flow shown in figure 7.30B, images 1 and 2 (HDR (high dynamic range) > HDR mode) until you arrive at the third screen in the series.
2. 2. Decide whether you want to make one or a series of HDR images and choose accordingly: On (series) for a series of images or On (single photo) for a single image (figure 7.30B, image 3).
3. 3. Press the OK button or tap your selection to prepare the camera for shooting in HDR mode.

When the Z7 is set to HDR mode, you will see the acronym HDR displayed on the camera’s EVF and Monitor. It will go away when HDR mode is set to Off. Now let’s look into configuring the Exposure differential setting.

Figure 7.30C: Choosing an Exposure differential setting

Use the following steps to choose an Exposure differential setting:

1. 1. Follow the screen flow shown in figure 7.30C, images 1 and 2 (HDR (high dynamic range) > Exposure differential) until you arrive at the third screen in the series.
2. 2. Choose one of the four settings, according to how much exposure variance you want between the two images that will be combined into one (figure 7.30C, image 3). Use Auto to let the camera decide, or choose from 1 EV to 3 EV. If you have a high-contrast subject, you may want to try the 3 EV level first to see if it works best. For low- to medium-contrast subjects, choose 1 EV or 2 EV. Press the OK button or tap the option to lock in your choice.

Next, let’s see how to configure the Smoothing selection for the best image edge boundary control.

Figure 7.30D: Choosing a Smoothing setting

Use these steps to configure Smoothing for the HDR image combination:

1. 1. Follow the screen flow shown in figure 7.30D, images 1 and 2 (HDR (high dynamic range) > Smoothing) until you arrive at the third screen in the series.
2. 2. Select High, Normal, or Low (figure 7.30D, image 3). You will need to experiment and observe the differences in image boundaries when you vary this setting. Press the OK button or tap the option to choose your Smoothing level.

Finally, let’s see how to save intermediate images as NEF (RAW) files.

Figure 7.30E: Saving intermediate images as NEF files

Use the following steps to save the two intermediate files as Large NEF files, regardless of the camera’s current Image quality and Image size settings:

1. 1. Follow the screen flow shown in figure 7.30E, images 1 and 2 (HDR (high dynamic range) > Save individual images (NEF)) until you arrive at the third screen in the series.
2. 2. Select On or Off and press the OK button or tap the option to save the setting (figure 7.30E, image 3).

If you do not use this setting, the camera will not keep the intermediate files at all. Instead, you will just have the one HDR image.

Now it’s time to take some HDR pictures. Here are some things you will need to know during and after the HDR process:

• The camera will take two exposures when you press the Shutter-release button all the way down once. It is a good idea to have the camera on a tripod during low-light HDR operations or you may have some nasty, blurry images as a result. If you do choose to handhold in low light, please brace yourself and do not allow camera movement. When light is very bright, the HDR process can be quite fast. It is much slower when light is low, taking several seconds to deliver a combined image.
• HDR will be displayed in the EVF and on the Monitor as soon as you enable HDR (high dynamic range).
• Job and HDR will flash on the small top Control panel during image combination.
• The edges of the image may be cropped, so do not allow important parts of the subject to touch the edges if possible.
• If you detect shadows around bright objects or halos around dark objects, you can reduce this effect by setting Smoothing to a lower level.
• You cannot select any form of NEF (RAW) shooting when HDR (high dynamic range) mode is enabled, only JPEG or TIFF. Also, HDR (high dynamic range) mode is grayed out on the Photo Shooting Menu when you set Image quality using NEF (RAW).

Note: You can assign one of the camera’s programmable buttons to allow you to select HDR settings with external camera controls. See the section f2 Custom Control Assignment (page 423) in chapter 9.

Figure 7.30F: Morton’s Overlook with sunbeams in the Great Smoky Mountains, Tennessee, near sunset. Five-image HDR with 1 stop EV difference between each image. Combined in Photomatix Pro 5. AF-S Nikkor 24–70mm f/2.8G ED lens at 70mm, f/22, ISO 100, on tripod.

Settings Recommendation: I am a big fan of bracketing and HDR. You’ll often find me on top of some Appalachian mountain shooting a five-bracket HDR shot of the valley below. Beautiful things can be done with HDR. I do not like the shadowless HDR images that some photographers shoot. To me they look fake and seem faddish. However, HDR, when used correctly, can help create images the camera could not normally take due to excessive light range.

Photoshop has built-in software for HDR, or you can buy a less costly dedicated package, such as Photomatix Pro by HDRsoft. I’ve been using Photomatix Pro for several years to combine my bracketed images into carefully tone-mapped HDR images.

There are some limitations to in-camera HDR, which is why people who are serious about it use the main bracketing system and combine their images using dedicated HDR software (figure 7.30E). However, HDR (high dynamic range) in the Z7 is an easy way to knock off a few quick HDR images for those times when only an HDR will do. Give it a try!

Interval Timer Shooting

(User’s Manual: Page 132, Reference Manual: Page 209)

Interval timer shooting allows you set up your camera to shoot a series of images over a long period of time so you can capture events such as flower petals opening. Interval timer shooting is somewhat different than Time-lapse movie (page 295) because an Interval timer shooting session is usually measured in hours or days, instead of minutes, and no automatic movie creation is done at the end. At the end of an Interval timer shooting session, you will have a large number of images that you can assemble into a movie in your computer or use individually. There are five steps to configuring an Interval timer shooting session:

• Choose a start date and time
• Choose an interval between pictures
• Choose the number of intervals and the number of pictures per interval
• Enable or disable Exposure smoothing
• Enable or disable Silent photography

Let’s carefully consider how to configure your Interval timer choices.

Configuring an Interval Timer Shooting Session

The series of screens we will now consider may look a little daunting at first; however, if you take the setup one step at a time, you will quickly learn to do Interval timer shooting. First, let’s see how to choose when the picture taking begins and ends.

Note: You can start the timer immediately by choosing the Start selection from the menu. However, we will save that step for last because we have configured nothing for the Interval timer. Therefore, we will skip Start at the top of the Interval timer shooting menu (figure 7.31A, image 2) and begin by setting up Choose start day/time.

Figure 7.31A: Interval timer shooting configuration

Use the following steps to configure an Interval timer shooting session:

1. 1. Select Interval timer shooting from the Photo Shooting Menu and scroll to the right (figure 7.31A, image 1).
2. 2. Skip over the Start selection for now because we have not configured any of the Interval timer settings yet (figure 7.31A, image 2). Later, after you have configured the Interval timer, you can simply come back and select Start to begin the timer. The camera will remember the settings from your last configuration of the Interval timer and you can use them again by selecting Start and pressing the OK button or by tapping Start with your fingertip.
3. 3. Highlight Choose start day/time and scroll to the right (figure 7.31A, image 2).
4. 4. The Choose start day/time menu will display two choices, Now and Choose day/time (figure 7.31A, image 3). Choose Now if you want to start the timer three seconds after you select Start and then press the OK button. If you would rather select a specific date and time to start the timer, select Choose day/time from the menu and scroll to the right.
5. 5. The Choose day/time screen will now appear (figure 7.31A, image 4). The Start date is always presented in the Month/Day (MM/DD) format, while the time is presented in a 24-hour (international time) format. If you are not using the Now selection from the previous step, move to the Start date field and use the up/down menu to enter a month and day, such as 11/20.
6. 6. Next, scroll over to the H and M fields and enter an hour in international time format (e.g., 15 = 3 p.m.). Enter the time at which you want the intervals to begin. The selectable hour (H) range is from 00 (midnight) to 23 (11 p.m.). After you have entered an hour setting, enter a minute setting. The selectable minute (M) range is from 00 to 59. Once you’ve entered the time, press or touch OK to lock it in. In figure 7.31A, image 4, my camera reflects a start time of 11/20 15:30 (November 20 at 3:30 p.m.) in the adjustable settings, and an ending time of 11/20 15:32 (November 20 at 3:32 p.m.) in the informational display at the bottom of the screen. Now let’s choose an Interval that will elapse before more pictures are taken.

Figure 7.31B: Choosing an Interval

1. 7. The camera will now return to the Interval timer shooting menu. Choose the Interval setting on the Interval timer shooting screen and scroll to the right (figure 7.31B, image 1).
2. 8. You will now see the interval selection fields with selections representing Hours: Minutes' Seconds" in the following format (figure 7.31B, image 2): 00:00' 00". The first two zeros represent the hours, the second set represents minutes, and the third set represents seconds. We will start out with an Interval of 10 seconds, so let’s set the screen to look like this: 00: 00' 10". Once you’ve entered the Interval, press or touch OK to lock it in. Now the camera will wait the length of time you set in the Interval field between each series of pictures.

Figure 7.31C: Choosing the number of intervals and number of shots per interval

1. 9. Now we’ll choose the number of intervals and shots per interval by selecting Intervals×shots/interval and scrolling to the right (figure 7.31C, image 1).
2. 10. You will be presented with a screen where you can select the number of intervals (Intervals) and the number of shots per interval (shots/interval), as seen in figure 7.31C, image 2. Number of intervals × number of shots = total shots. These values are gathered in this format: 0000 × 0 = 0000. You can set the number of intervals (0000) anywhere from 0001 to 9999. You can set the number of shots taken per interval anywhere from 1 to 9. If, for example, you want to shoot six Intervals, and take two pictures during each Interval, set your camera so that it looks like this: 0006 × 2 = 00012 (figure 7.31C, image 2). This means there will be six Intervals (0006) of 10 seconds each (set in step 7) and the camera will take two pictures for each interval (x 2), for a total of 12 pictures (00012). In other words, 2 pictures will be taken every 10 seconds over a period of 60 seconds, for a total of 12 images at the end of the series (0006 intervals × 10 seconds each = 60 seconds). Press or touch OK to lock in the Intervals×shots/interval value. Note: The maximum number of images that can be taken in one Interval timer session is 89991. Additionally, if you have the camera set to single frame release mode, the camera will instead use Continuous Low release mode. You can choose a frames-per-second (fps) rate for Continuous Low in Custom Setting d1 CL mode shooting speed, which defaults to 3 fps (page 398).

Figure 7.31D: Choosing an Exposure smoothing setting

1. 11. Next, you may select Exposure smoothing (figure 7.31D, image 1), which allows the camera to adjust the exposure of an image so it matches the exposure of the previous image, when using P, S, and A modes on the Mode dial. If you use M mode, you must have Photo Shooting Menu > ISO sensitivity settings > Auto ISO sensitivity control set to On (page 190), or Exposure smoothing will not work. Choose Exposure smoothing from the Interval timer shooting screen and scroll to the right (figure 7.31D, image 1). Note: If you have very long Intervals, and you are shooting outdoors, there may be such large changes in brightness that the camera cannot overcome it and smoothing will not work. In that case, you will need to shorten the Intervals or accept the brightness changes.
2. 12. Select On or Off for Exposure smoothing and press the OK button or tap the option to lock in the setting (figure 7.31D, image 2).

Figure 7.31E: Enabling or disabling Silent photography

1. 13. Next, you may highlight Silent photography on the Interval timer shooting menu and scroll to the right (figure 7.31E, image 1).
2. 14. Select On to use the camera’s electronic shutter instead of the mechanical shutter or select Off to cancel (figure 7.31E, image 2). If you select On, no sound will be heard during the Interval timer shooting session. Though the camera will be silent, it will display each image on the Monitor as it is captured. Unfortunately, if you enable Silent photography and have previously selected more than one shot per interval (steps 9 and 10), the camera will reset the shots per interval setting back to 1 (figure 7.31E, image 3). A message will pop up on the screen that says, “1” shot per interval set for “Intervals×shots/interval” as soon as you select On. To take more than one shot per interval, you must not use Silent photography! Note: Using Silent photography mode disables the following camera features:
   1. ISO sensitivity of Hi 0.3 to Hi 2
   2. Flash photography
   3. Exposure delay mode
   4. Flicker reduction
   5. Bracketing

Figure 7.31F: Enabling or disabling Interval priority

1. 15. In some Interval timer shooting situations you might find yourself in the unenviable position of needing an exposure time that is longer than the Interval time, leading to underexposed images if the Interval timing is obeyed. To remedy that problem, Nikon has provided the Interval priority setting, allowing you to set priority for the Interval timing or the exposure timing. Choose Interval priority from the Interval timer shooting menu and scroll to the right (figure 7.31F, image 1).
2. 16. Select On and press the OK button or touch On with your fingertip to set the priority on the Interval timing for exposure modes P and A. This setting does not apply to the M or S exposure modes. Be aware that if you have selected On, the camera will not complete a good exposure when the exposure time is longer than the Interval time. The Interval timing will have priority. If you feel the exposure time is more critical than the Interval time, then set Interval priority to Off and press the OK button or touch Off with your fingertip. Note: If On is selected, be sure that the Minimum shutter speed under the Auto ISO sensitivity control settings is faster than the Interval setting (see: Photo Shooting Menu > ISO sensitivity settings > Auto ISO sensitivity control > Minimum shutter speed, on page 192). Also, you should use manual focus. However, if you do use autofocus, use Release priority under Custom Setting Menu > a Autofocus > a1 AF-C priority selection (page 365) or Custom Setting Menu > a Autofocus > a2 AF-S priority selection (page 366), according to whether you are using AF-C or AF-S Focus modes. The camera will not take a picture when it is not in focus unless Release priority is selected, which, of course, may be a good thing for most of us. Note: If Interval priority is enabled, Bracketing is disabled.

Figure 7.31G: Selecting a Starting folder and file numbering

1. 17. You can choose to have the camera create a new folder for each Interval timer shooting session so each session is stored separately. You can also choose to set image numbering back to 0001 at the beginning of each session (e.g., DSC-0001.jpg). Choose Starting storage folder from the Interval timer shooting menu and scroll to the right (figure 7.31G, image 1).
2. 18. If you want to use a separate new folder for each Interval timer shooting session, highlight New folder and scroll to the right, or tap on the small box to the left of New folder to add a check mark (figure 7.31G, image 2). Now, when the camera starts a new Interval timer shooting session, it will first create a new folder. For instance, I was taking normal pictures using a folder named 200YOUNG. When I put a check mark next to New folder (enabled it) and started an Interval timer shooting session, the camera created a new folder named 201YOUNG and saved all the images from that session in the new folder. You can also choose to use continuous image numbering or start over with 0001 with each new session. If you prefer to use new image numbers for each session, go to the next step instead of selecting OK. Otherwise, to keep using current sequential image numbers, press or touch OK and skip step 19.
3. 19. If you would like each Interval timer shooting session to have new file numbers starting at 0001, highlight Reset file numbering and scroll to the right or tap on the small box to place a check mark in the box (figure 7.31G, image 3). Press or touch OK to lock in your choices.

Figure 7.31H: Starting the Interval timer shooting session

1. 20. Now that you have all the previous options set, you are ready to Start the Interval timer using the settings displayed on the Interval timer shooting screen (figure 7.31H, image 1). When you select Start, as shown in image 1, and press the OK button, a Preparing message will appear briefly on your camera’s Monitor (figure 7.31H, image 2), and then the Interval timer shooting session will begin. Normally, the rear Monitor will be turned off during a session. However, if you press the Shutter-release button halfway, the Monitor will turn on and you will see Interval timer shooting appear briefly on the screen, then you will see the abbreviated word INTVL flashing. INTVL will continue to flash as long as the Interval timer is in operation. Additionally, the Memory card access lamp on back of the camera will flash approximately every three seconds while the Interval timer shooting session is active.

Pause, Cancel, or Restart an Interval Timer Shooting Session

You may need to pause or cancel the Interval timer while it is counting down to the start time you set in Shooting options, or when the timer is already active and taking pictures. The Interval timer will continue to function and count down even if you have switched the camera off. Therefore, once you have activated the timer you will need to use the screens shown in figure 7.31I to pause or cancel it. Let’s see how to do it.

Figure 7.31I: Pausing or canceling an Interval timer shooting session

Use these steps to pause or cancel an Interval timer shooting session:

1. 1. Select Interval timer shooting from the Photo Shooting Menu and scroll to the right (figure 7.31I, image 1).
2. 2. Choose Pause to temporarily stop the timer, or Off to cancel the session (figure 7.31I, image 2).
3. 3. Press the OK button or tap the option to lock in your choice.

Figure 7.31J: Restarting or canceling an Interval timer shooting session

If you have previously paused the Interval timer and would like to restart or cancel it, use the following steps:

1. 1. Select Interval timer shooting from the Photo Shooting Menu and scroll to the right (figure 7.31J, image 1).
2. 2. Select Restart, which allows you to continue your Interval timer session, or Off, which lets you cancel the session (figure 7.31J, image 2).
3. 3. Press the OK button or tap the option to lock in your choice.

Note: If the memory card fills up during a shooting session and has no more room for images, the timer will remain active, but the camera will stop taking pictures. You can resume shooting after you have either deleted some pictures or inserted another memory card.

Interval timer shooting will pause if you select the Self-timer. You must disable the Self-timer before you can restart the Interval timer.

During pauses, you can replace batteries and memory cards without ending the Interval timer session. To restart the session and continue where it left off, you must use the Photo Shooting Menu screens shown in figure 7.31J.

Please remember that pausing the session does not affect Interval timer settings. If, for any reason, the camera cannot continue Interval timer photography, it will display a warning on the Monitor.

Skipping Intervals: The camera will skip an interval if any of the following occurs for longer than eight seconds:

• Any photographs from the previous session are not yet taken
• The memory card is full
• Single-servo AF is active and the camera is unable to focus (the camera refocuses before each shot)

The camera will then try again at the next interval. Following are some things you need to be aware of when using the Interval timer shooting system:

• User Settings and Auto Mode: Changing to a different User setting position, or selecting Auto mode, on the Mode dial (U1, U2, U3, AUTO) will interrupt the Interval timer and Shooting paused will display on the Monitor. You can restart the session when you have changed the settings (see figure 7.31J).
• Bracketing Info: Be sure to adjust any bracketing for the exposure, flash, or Active D-Lighting (ADL) before you start Interval timer shooting. Bracketing overrides the number of shots, so you may not get what you expected if any kind of bracketing is active. Also, according to Nikon, “If White balance bracketing is active during an Interval timer session, the camera will take one shot at each interval and process it to create the number of copies specified in the bracketing program.”
• Power adapter for long shooting sessions: The EH-7P USB Charging AC Adapter (included with the Z7, but optional with the Z6) cannot be used to power the camera when it is turned on. It is designed to charge the camera’s EN-EL15b battery while the camera is off. When you are shooting images over long periods of time, make sure you have a full battery or are connected to a full-time power source, such as the Nikon EH-5c AC adapter (with EP-5b power connector).

Settings Recommendation: Please learn to use this function! It is complicated, but if you read this section carefully and practice using Interval timer shooting as you read, you’ll learn it quickly. This type of photography allows you to shoot things like flowers gradually opening or the sun moving across the sky. Have some fun with it!

Time-Lapse Movie

(User’s Manual: Page 132, Reference Manual: Page 220)

Time-lapse movie is a cousin of Interval timer shooting (see the previous section). The primary difference is that Time-lapse movie is designed to create a silent time-lapse movie when you are done shooting. During time-lapse creation, the camera automatically takes pictures at intervals you select during setup and later assembles them into a time-lapse movie.

Let’s examine how to set up a short time-lapse sequence using Time-lapse movie.

Figure 7.32A: Configuring a Time-lapse Interval

Here are the steps to set up a Time-lapse movie:

1. 1. Choose Time-lapse movie from the Photo Shooting Menu and scroll to the right (figure 7.32A, image 1).
2. 2. We are skipping the Start selection at this time, until we have fully configured the Time-lapse movie settings. Select Interval from the Time-lapse movie screen and scroll to the right (figure 7.32A, image 2). You can check the Framing the camera will use with the current settings by pressing the Zoom out button or by tapping the Framing symbol on the bottom right of the screen.
3. 3. Set the picture Interval in minutes and seconds. You can choose from 1 second to 10 minutes (figure 7.32A, image 3). The hours column is not available to adjust from the Interval screen. I entered 00' 05" in image 3, which means I have selected a 5-second interval. The camera will take a picture every 5 seconds during the Shooting time period set in step 4. Press or touch OK to lock in your setting and return to the Time-lapse movie screen.

Figure 7.32B: Choosing a Shooting time

1. 4. Select Shooting time from the Time-lapse movie screen and scroll to the right (figure 7.32B, image 1).
2. 5. Choose a Shooting time over which the picture Interval will be executed (figure 7.32B, image 2). You can choose from 1 minute (00:01) to 7 hours 59 minutes (07:59). The seconds column is not available to adjust from the Shooting time screen. I entered 25 minutes (00:25' 00") in image 2, which means the camera will take a picture every 5 seconds (the Interval set in step 3) over a 25-minute period (the Shooting time). Press or touch OK to lock in your setting and return to the Time-lapse movie screen.

Figure 7.32C: Selecting Exposure smoothing

1. 6. Next, you may select Exposure smoothing, which prevents abrupt exposure changes between images when you are using P, S, and A exposure modes. If you use M mode, you must have Photo Shooting Menu > ISO sensitivity settings > Auto ISO sensitivity control set to On, or Exposure smoothing will not work. Choose Exposure smoothing from the Time-lapse movie screen and scroll to the right (figure 7.32C, image 1).
2. 7. Select On or Off for Exposure smoothing (figure 7.32C, image 2) and press the OK button or tap your selection to lock in the value and return to the Time-lapse movie screen.

Figure 7.32D: Silencing the shutter

1. 8. If you are capturing the Time-lapse movie in an area where it is important to be quiet, you may want to silence the camera’s shutter. Select Silent photography from the Time-lapse movie menu and scroll to the right (figure 7.32D, image 1).
2. 9. Choose On to use the silent electronic shutter or Off to use the normal mechanical shutter. Press the OK button or tap your selection to lock in the value and return to the Time-lapse movie screen (figure 7.32D, image 2). Now, scroll down to find the final three Time-lapse movie settings.

Figure 7.32E: Setting the Image area

1. 10. Select Choose image area from the Time-lapse movie screen and scroll to the right (figure 7.32E, image 1).
2. 11. Choose FX or DX as the Image area for this Time-lapse movie (figure 7.32E, image 2) and press the OK button or tap your selection to lock in the value.

Figure 7.32F: Setting the Frame size/frame rate

1. 12. Choose Frame size/frame rate from the Time-lapse movie screen and scroll to the right (figure 7.32F, image 1).
2. 13. Choose one of the eight Frame size/frame rate settings (figure 7.32F, image 2; there are no slow-mo settings) and press or touch OK to return to the main screen.

Figure 7.32G: Setting the Interval priority

1. 14. When you are shooting time-lapse sequences with a short Interval time, you might run into a situation where the image exposure time on a dark night is longer than the Interval time, causing the camera to underexpose your images when the Interval expires and cuts the exposure short. Interval priority helps solve that problem. You can tell the camera whether the exposure of images is more important than the Interval (Off), or whether the Interval is more important than the exposure (On). If you choose On, make sure you are not consistently underexposing your images. This setting applies only to P and A exposure modes: S and M modes ignore this setting. Select Interval priority and scroll to the right (figure 7.32G, image 1).
2. 15. Choose On to give priority to the Interval or select Off to give priority to the image exposure time. Press the OK button or tap on the option to lock in your setting and return to the main screen (figure 7.32G, image 2).

Figure 7.32H: Starting the Time-lapse movie sequence

1. 16. Make sure your camera is on a tripod and ready for shooting the time-lapse sequence, and then select Start from the Time-lapse movie menu (figure 7.32H, image 1).
2. 17. The camera will display a screen that says, Preparing (figure 7.32H, image 2), for about three seconds and will begin shooting your sequence. During the time-lapse sequence you will see moving chevron (pointer) symbols where the image count normally appears on the upper Control panel, and the images will briefly appear on the Monitor as they are captured. If you choose to end the sequence early, simply press the OK button and the camera will stop taking pictures. Other than the fact that the camera stops taking pictures and the chevron symbol stops moving on the Control panel, there is nothing externally visible that lets you know the Time-lapse movie sequence stopped when you pressed the OK button.

Note: Before you start a time-lapse sequence, check the framing and exposure by taking a picture from the position you will use to capture the time-lapse movie. It is often best to shoot in Manual (M) exposure mode with everything preset to a particular aperture, shutter speed, and ISO sensitivity. When shooting in M mode, if you are worried about ambient light changes affecting the exposure during the time-lapse session, simply enable Photo Shooting Menu > ISO sensitivity settings > Auto ISO sensitivity control. Use the ISO-Auto setting from the Photo Shooting Menu because the Time-lapse movie function is just a series of still images joined together and is not a true video. Auto ISO allows the camera to vary the ISO sensitivity within a range you can set and will prevent inconsistencies in exposure during the sequence. Additionally, it is a good idea to choose a White balance setting other than Auto to keep the colors the same across all the images in the time-lapse movie.

If you have selected a long shooting time, you may want to consider connecting the camera to the optional Nikon EH-5c AC adapter for continuous power (you’ll also need the Nikon EP-5B power supply connector if you do).

Why is Time-lapse movie grayed out?: Time-lapse movie is not available (it’s grayed out) if Shutter speed is set to Bulb; when you are in the middle of a bracket sequence; if the camera is connected via an HDMI cable to an external device for movie recording; or when HDR, Multiple exposure, or Interval timer shooting is enabled.

Time-sequence length calculation: The total number of frames in the movie can be calculated by dividing the shooting time by the interval. Then you calculate the movie length by dividing the number of frames by the frame rate (e.g., 30p, 24p) you’ve selected in Time-lapse movie > Frame size/frame rate. Remember, the Time-lapse movie system makes short movies based on the Frame size/frame rate and Image area configured under the Time-lapse movie menu and not the same ones found on the Movie Shooting Menu.

What you will see while shooting: As previously mentioned, while you’re recording the time-lapse sequence, chevron symbols will move on the Control panel where the image count normally displays. The normal shutter speed and aperture settings will be displayed on the Control panel between frames (unless the frames are too loosely spaced in time), allowing you to make adjustments if needed (according to the exposure mode you are using). The exposure meter will not turn off during shooting. To stop the sequence outright, press the OK button or turn the camera off.

A movie is made: When the sequence is complete, the camera will automatically assemble a short, silent movie based on the frame rates you selected in the Movie Shooting Menu. You can identify the time-lapse movie by the fact that it shows a Play touch button on the screen with the first frame of the movie sequence.

Settings Recommendation: This function is convenient for those of us who would like to experiment with or shoot interesting time-lapse sequences. Try shooting some short sequences of an event and see how easy it is!

Focus Shift Shooting

(User’s Manual: Page 132, Reference Manual: Page 228)

Focus shift shooting allows the camera to vary its focus over a series of up to 300 images, with customizable intervals and focus steps. The resulting image series can later be combined in your computer into one image with very deep depth of field.

How Does Focus Shift Shooting Work?

To test the Focus shift shooting (known as focus stacking) function, I chose a red block as my closeup subject (figure 7.33A). I decided I wanted about 4 inches of sharp focus to fully cover my subject. I focused my camera on the 5-inch mark on the ruler and since I was using f/9, I knew there would be a little sharpness in front of the focus position due to depth of field.

Figure 7.33A: Beginning focus position at 4.5 inches, ending position at 8.5 inches

The two ruler pictures shown in figure 7.33A, images 1 and 2, are the first and last images of a nine-shot Focus shift shooting session. In the ruler picture shown in figure 7.33A, images 1, you can see that mostly sharp focus starts at about 4.5 inches and full sharpness begins at about 5 inches. The ruler picture shown in figure 7.33A, image 2, shows that the final zone of sharpness extends to about 8.5 inches; and is still mostly sharp out to about 9 inches.

After combining the nine images, the 3.5-inch zone of full sharpness covered my subject with room to spare. Using focus stacking was an elegant solution for what I needed to do.

In figure 7.33A, image 3, you see a Peaking stack image, which, if enabled, allows you to see a black-and-white focus Peaking representation of the zone of sharp focus for your subject.

Let’s examine how the focus stacking system handled my needs (figure 7.33B).

Figure 7.33B: Actual focus movement with No. of shots at 9 and Focus step width at 5

In the nine frames shown in figure 7.33B, the camera kept moving the focus from its starting position of 5 inches to its ending position of about 8.5 inches on the ruler. The most important settings were No. of shots set to 9 and Focus step width set to 5.

In figure 7.33B, image 1, I have the lens focused on the number 5 on the ruler, and at f/9 the depth of field extends some sharpness toward the camera as shown by the thin green line at 4.5 inches. I started the automatic Focus shift shooting function and the camera took 9 pictures (No. of shots) while automatically moving the focus forward by 5 steps (Focus steps width) for each frame. You do not need to take each picture individually; the camera will do it for you. As you examine figure 7.33B, images 1 to 9, note that the horizontal green line shows approximately where the primary focus position is on each frame. The camera moved the point of focus forward automatically for each new frame (starting at 5 inches and ending at 8.5 inches).

When the Focus shift shooting process was complete, I had the full subject covered with good focus, within a series of nine pictures that needed to be combined in the computer. The camera only takes the pictures; it will not assemble the final image. Let’s see how to configure the camera to do a Focus shift shooting session.

Configuring Focus Shift Shooting

There are seven configurable settings in the Focus shift shooting function, plus a Start setting to begin the automatic focus shifting process. First, let’s discuss what each setting does, and then we will configure each setting individually.

• Start: This setting starts the automatic shooting process. The camera will take the pictures without you having to press the Shutter release button. As soon as you select Start and press the OK button, the camera will start taking all the pictures in the series.
• No. of shots: This setting allows you to tell the camera how many shots you want it to take. You can choose a number from 1 to 300, for up to 300 images in the Focus shift shooting series. For figure 7.33B, I selected nine shots.
• Focus step width: This setting controls how far forward the focus is shifted before the next shot is taken. You can see the action of this setting by examining the position of the green lines in figure 7.33B, images 1 to 9.
• Interval until next shot: This setting allows you to introduce a time delay, in seconds, between each picture in the Focus shift shooting series. If you select 00, the camera will not use a delay between frames and will attempt to shoot at about 5.5 frames-per-second. If you do not use the default of 00, you will need to select the number of seconds between each frame, from 01 to 30 seconds.
• First-frame exposure lock: If you set this to On, the camera will use the same exposure for each picture in the stack series. If set to Off, the camera will adjust exposure for each picture.
• Peaking stack image: The directs the camera to create an image showing the approximate range of sharp focus in high-contrast black-and-white (figure 7.33A, image 3). This is like black-and-white focus Peaking for the entire range of focus for all the combined images.
• Silent photography: This setting allows you to silence the camera’s shutter by switching from the mechanical shutter to the electronic shutter. You will hear the mirror raise on the first frame of the Focus shift shooting series, and then each subsequent frame will be silent, except for the last frame when the mirror is lowered.
• Starting storage folder: This setting causes the camera to create a new folder for each Focus shift shooting series so that each series is separated from any previous series. You can also use this setting to start image numbering over at 0001 (e.g., DSC-0001.jpg) for each Focus shift shooting series.

Figure 7.33C: Configuring a Focus shift shooting series

Use the following steps to configure a Focus shift shooting series:

1. 1. Select Focus shift shooting from the Photo Shooting Menu and scroll to the right (figure 7.33C, image 1).
2. 2. We will skip the Start setting initially, beginning instead with No. of shots, so that we can configure the camera for our current needs (figure 7.33C, image 2). Choose No. of shots and scroll to the right.
3. 3. The camera presents a series of three up/down menus, which can be used to create a No. of shots value from 001 to 300 (figure 7.33C, image 3). Choose the number of frames you want in your Focus shift shooting series and then press or touch OK.

Figure 7.33D: Configuring the Focus step width setting

1. 4. Choose Focus step width from the menu and scroll to the right (figure 7.33D, image 1).
2. 5. The camera presents you with a Focus step width selector bar (figure 7.33D, image 2). Tap the arrows on the left or right of the selector bar (or use the Multi selector pad) to move the yellow pointer toward 1 or 10. The default value is 5, as indicated by the yellow pointer at the red arrow in image 2. The Focus step width has no easily measurable value since the actual focus movements will be affected by how close you are to your subject and the zoom setting of your lens (field of view). You will need to experiment with this value by measuring the depth of focus you need for a macro subject, or by guesstimating with a larger subject like a landscape. If you need smaller focus steps, move the yellow pointer toward 1. If you need larger steps, move it toward 10. Press or touch OK after you have chosen a value.

Figure 7.33E: Configuring Interval until next shot

1. 6. Highlight Interval until next shot and scroll to the right (figure 7.33E, image 1).
2. 7. Use the up/down menu to select a value from 00" to 30" (figure 7.33E, image 2). If you select 00", the camera will not use a delay between frames and will attempt to shoot a rapid succession of frames at ~5.5 frames per second. If you want more time between frames, choose from as low as 1 second (01") to as long as 30 seconds (30") between each frame of the Focus shift shooting series. Press or touch OK after you have chosen a value. Note: If you are using flash to light your subject, you may need to allow a second or two between frames for the flash to recycle. Experiment with this!

Figure 7.33F: Configuring First-frame exposure lock

1. 8. Choose First-frame exposure lock and scroll to the right (figure 7.33F, image 1).
2. 9. Highlight On or Off and press the OK button or tap your selection to lock it in (figure 7.33F, image 2).

Figure 7.33G: Configuring Peaking stack image

1. 10. Choose Peaking stack image and scroll to the right (figure 7.33G, image 1).
2. 11. If you choose Create from the menu (figure 7.33G, image 2), the camera will display a Peaking stack image like you see in figure 7.33G, image 3. This high-contrast image displays only the edges of your subject in white lines on black. This image stays on the screen for about four seconds and then it disappears; however, you can recall it later (see figure 7.33H). When the focus session is over, the final image of the session will display for about four seconds and then the Peaking stack image will appear for an additional four seconds. During the time it is displayed you can quickly see the range of focus captured. I marked the approximate range of the zone of sharpness in my sample focus stack (red arrows in figure 7.33G, image 3). If you don’t want a Peaking stack image to be created, choose Don’t create from the menu instead (image 2). Highlight your choice and press the OK button or tap on the item to lock in the setting. Now let’s see how to review the Peaking stack image.

Figure 7.33H: Reviewing the Peaking stack image

1. 12. If you previously enabled Create in step 11, all images in the Focus stack shooting session will be marked with a PEAK word at the top of the screen (figure 7.33H, image 1). If you want to review the Peaking stack image, display one of the pictures from the stack and press the i button (figure 7.33H, image 2). The i Menu will display, with Display peaking stack image as the last choice on the menu (figure 7.33H, image 3). Select that item and press the OK button or touch it with your fingertip and the Peaking stack image will appear on the Monitor (figure 7.33H, image 4). When you are finished examining the Peaking stack image, press the Playback button or tap Exit.

Figure 7.33I: Configuring Silent photography

1. 13. To silence the camera, highlight Silent photography and scroll to the right (figure 7.33I, image 1).
2. 14. Select On to silence the shutter by using the camera’s electronic shutter instead of its mechanical shutter (figure 7.33I, image 2). If On is selected, the entire Focus shift shooting series will silent. Choose Off to continue using the normal mechanical shutter with its resulting sounds. Press the OK button or tap your selection to lock it in.

Figure 7.33J: Configuring Starting storage folder

1. 15. You can choose to have the camera create a new folder for each Focus shift shooting series so that each series is stored separately. You can also choose to set image numbering back to 0001 at the beginning of each session (e.g., DSC-0001.jpg). Choose Starting storage folder from the Focus shift shooting menu and scroll to the right (figure 7.33J, image 1).
2. 16. If you want to use a separate new folder for each Focus shift shooting session, highlight New folder and scroll to the right (figure 7.33J, image 2) or tap the little box to the left of New folder to add a check mark. Now when the camera starts a new Focus shift shooting series, it will first create a new folder. For instance, I was taking normal pictures using a folder named 300YOUNG. When I put a check mark next to New folder (enabled it) and started a Focus shift shooting series, the camera created a new folder named 301YOUNG and saved all the session images in the new folder. You can also choose to keep using current sequential image numbering or start over with 0001 with each new series. If you would prefer to use new image numbers for each series, go to the next step instead of selecting OK. Otherwise, to keep using current sequential image numbers, press or touch OK and skip step 14.
3. 17. If you would like each Focus shift shooting series to have brand-new file numbers starting at 0001, highlight Reset file numbering and scroll to the right or tap the box to place a check mark in it (figure 7.33J, image 3). Press or touch OK to lock in your choice.

Figure 7.33K: Starting a Focus shift shooting series

1. 18. After you have completed choosing the settings above, it’s time to actually capture the Focus shift shooting series of images that will later be combined into a final image with deep depth of field. Before you execute the next step, be sure your camera is on a tripod, focused, in the exposure mode you want to use, and fully ready to take the focus-shifted (stacked) images. Scroll up to Start at the top of the menu and press the OK button (figure 7.33K, image 1).
2. 19. A popup box with the word Preparing will show on the screen (figure 7.33K, image 2) and the camera will begin taking pictures without you having to press the Shutter-release button. The focus point will move forward for each image. When the process is complete you will have a series of images on your memory card that are ready to be combined in your computer. You can interrupt an active Focus shift shooting session by pressing the OK button or by tapping on Interrupt/OK in between pictures.
3. 20. If you press the Menu button during the session, the In progress screen shown in figure 7.33K, image 3, will appear. You can press the OK button or touch Off with your fingertip to stop the Focus shift shooting session part of the way through its sequence without losing any of the images already captured.

Note: Assembling the stacked images into a final combined image with deep depth of field in your computer is beyond the scope of this book. However, there are good resources for learning about combining images.

Photoshop has a built-in utility to combine focus-stacked images through a process called focus blending. Do a YouTube search for “Photoshop focus blending,” and you will find some good video resources.

Many experienced focus stack shooters often recommend Helicon Focus software. You can review the software here:

http://www.heliconsoft.com

Enjoy the new focus stacking capability found in your Nikon Z7. Hopefully, in the future, Nikon will provide image combination within the camera so you don’t have to use a computer.

Silent Photography

(User’s Manual: Page 132, Reference Manual: Pages 65, 233)

Silent photography allows you to make the camera shoot silently. The Z7 will use its electronic shutter to make exposures with no noise. This mode is best used in environments where camera noise is not allowed or could draw unwanted attention to the photographer.

There are a couple of things to be aware of when using this mode:

• Rolling shutter effect: If the subject or photographer is moving quickly (e.g., Panning), the subject might appear to lean in the direction of the motion in an odd fashion. This is caused by the fact that Silent shooting uses the camera’s electronic shutter only, and each row of the sensor is read in quick succession from top to bottom. As the camera or subject moves, the subject is shifted slightly for each row of the imaging sensor, as that row is read by the camera. This introduces a weird distortion that makes the subject appear to lean in the direction of the motion. Silent shooting might not be a good idea when the subject or the camera is moving at a higher than normal speed. For more information do a Google search on “rolling shutter versus global shutter.“
• Banding under certain types of lighting: Certain types of pulsed lighting (e.g., fluorescent, mercury-vapor, and sodium) can cause a banding or flickering effect as the light varies during the time of the exposure. It’s best to use the normal shutter when shooting under pulsed (non-continuous) lighting.
• Slower burst shooting: Using this mode when burst shooting can drop the frame rate (fps) by about 1 to 1.5 frames per second. There is a chart on page 82 of the downloadable Reference Manual that lists the frame rates in and out of Silent mode.
• No flash photography allowed: Short-duration flash photography will cause banding or bright spots in your subject. You must use continuous lighting of some form, or good ambient light, to take pictures in Silent photography mode.

Now let’s see how to select Silent photography.

Figure 7.34: Selecting Silent photography

Use the following steps to select Silent photography:

1. 1. Choose Silent photography from the Photo Shooting Menu and scroll to the right (figure 7.34, image 1).
2. 2. Highlight SL On or Off on the Silent photography menu to enable or disable silent shooting. Press the OK button or tap on your choice to lock in the feature.

Note: Enabling Silent photography mode will automatically disable the following: the Speedlight flash unit (no flash is allowed), Beep sound, Long exposure NR, and the Electronic front-curtain shutter. If you are photographing flashing lights, such as an ambulance, there might be banding or bright spots in your images.

Settings Recommendation: Silent photography is great for environments such as outdoor weddings (no flash is available), photographing grizzly bears in Alaska, or sneaky pictures of family and friends—anywhere photographers do not want to call attention to themselves. Any time you want your camera to stop making noise while taking pictures, the camera or subject is not moving rapidly, and the lighting is continuous, true Silent shooting is a great feature to have.

Author’s Conclusion

Congratulations on configuring the camera for still image capture! If you save the current Photo Shooting Menu settings to one of the camera’s three User settings (U1, U2, or U3) with Setup Menu > Save user settings, you will have configured only one of the camera’s User settings. Now, configure the camera a different way and save it to one of the other User settings (U2 or U3).

Taking advantage of the camera’s three User settings gives you a great deal of flexibility in how your camera operates. You can switch between three different camera configurations very quickly.

Next, let’s examine the Movie Shooting Menu to learn how to set up the camera for capturing excellent video.