HOW TO USE

FLASH

A HANDBOOK OF A WEDDING PHOTOGRAPHER

CONTENTS Table of

05 09
CHAPTER I CHAPTER II

Introduction to Flash Flash Equipment

Photography in
Weddings

16 20 29
CHAPTER III CHAPTER IV CHAPTER V

Natural Light vs. Flash light. Techniques for

Flash Light Understanding The Balancing Ambient
Basics. Light with Flash

38
CHAPTER VI

Our Preferred
Approaches to
Various Wedding
Moments
ABOUT THE AUTHORS
Hi! We’re Anna Roussos and Thanos Asfis. With our combined experience of more than
30 years as wedding photographers, we’ve been honoured as Europe’s finest by
numerous publications. Our journey has allowed us to capture some of the most elegant
and lavish events in the world.

Photographing destination weddings is not just a job for us; it’s our passion. We’re
constantly refining our craft, always striving to perfect the art of wedding photography.
In response to the questions we frequently receive from fellow photographers, such as
“How do you work with flash on your wedding day?” and “What was your flash setup
when taking this image?” we’ve crafted this handbook to provide you with detailed
insights and our choice of techniques you can use for your own photography.

We welcome you to join us as we delve into flash photography for weddings. We’re
excited to share all our techniques and approaches with you!

Let’s connect on IG: @annaroussos @thanosasfis

 FOCAL LENGTH: 40MM
APERTURE: F/10
SHUTTER SPEED: 1/160
ISO: 1000
FLASH POWER: 1/64

INTRODUCTION
In this book, we’ll dive into our vision and techniques for effectively utilising flash in
various scenarios on the wedding day.

The initial chapters will cover the rationale behind incorporating flash during weddings,
distinguishing between natural and artificial light, providing fundamental flash
knowledge, and introducing diverse flash techniques. We’ll also reveal what we carry in
our own wedding day flash gear bags.

Our final chapter will unveil our preferred techniques for capturing each segment of the
wedding day with flash. Each technique will be illustrated with sketches and sample
images, helping you visualise and use them as a comprehensive guide.

Each photograph in this book will also be accompanied by the camera and flash
settings employed during its capture. We strongly advise reading the foundational
chapters attentively before delving into the techniques and examples, as they help
establish the crucial groundwork you’ll need to make your photos shine.

04
C
Chap
ter
1

INTRODUCTION TO
FLASH
PHOTOGRAPHY IN
WEDDINGS
 THE SIGNIFICANCE OF USING FLASH IN WEDDING PHOTOGRAPHY

Weddings are complex affairs that unfold over the course of several hours, transitioning
from daylight to dusk, and finally into the night. Throughout this journey, photographers
will navigate through a myriad of settings, from indoor to outdoor venues, each
presenting its own unique lighting challenges. Achieving a cohesive collection of images
is paramount, and the strategic use of flash becomes instrumental in maintaining
consistency across diverse environments. Inevitably, moments will arise where natural
light is insufficient—and here, the application of flash becomes indispensable. Mastery of
when and how to employ flash can spell the difference between delivering professional-
grade results or amateurish snapshots. Ultimately, photography itself is a testament to
the art of harnessing and sculpting light, as the very word originates from the Greek
roots “phos” and “grapho,” meaning “to write with light.”

THE ROLE OF FLASH IN CAPTURING WELL-LIT AND DYNAMIC

IMAGES IN VARIOUS LIGHTING CONDITIONS

In the realm of modern professional photography, today’s cameras boast impressive

capabilities, capturing images in high resolution with remarkable depth and detail. Even
in challenging low-light environments, photographers can leverage advanced features
like high ISO settings to obtain usable shots. And with the aid of sophisticated editing
software like Lightroom and Photoshop, they can finesse these images to achieve their
desired aesthetic without compromising much on quality.

However, amidst these technological advancements, one fundamental truth remains

unchanged: a well-lit photograph serves as the optimal canvas for post-processing.
Good lighting provides the foundation for vibrant colours, rich tones, and overall visual
impact, offering photographers greater flexibility and creative control in the editing
process.

It’s no wonder why flash remains a staple accessory in the realms of fashion, product,
and commercial photography. With its ability to augment existing light or provide
additional illumination as needed, flash becomes vital to achieving polished, editorial-
worthy images. And in the world of wedding photography, when the goal is to capture
moments with an editorial flair, the smart use of flash becomes not just an option, but a
necessity.

06
 THE IMPORTANCE OF MASTERING FLASH TECHNIQUES FOR
DELIVERING HIGH-QUALITY RESULTS

Flash serves as a versatile and invaluable tool for photographers, providing endless
creative possibilities when it is harnessed effectively. However, mere ownership of a flash
unit pales in comparison to the mastery needed to use it properly.

Modern flashes come equipped with basic functionalities for adjusting power and light
intensity, giving photographers control over their illumination. Whether employed on- or
off-camera, the positioning of the flash plays a pivotal role in shaping the image’s final
outcome. When utilised off-camera, considerations such as height, distance from the
subject, and angle must be carefully weighed to achieve the desired lighting effect.

On-camera flash usage presents its own set of challenges and opportunities. When the
flash points in the same direction with the lens, it lights the subject head on, reducing
shadows to a minimum, as most of the shadow is now hidden behind the subject. By
angling the flash away from the lens axis, photographers can bounce light off surfaces
like ceilings or walls, thereby altering its softness (and potentially, its colour temperature).
Additionally, the wide array of light modifiers available on the market further expands the
creative toolkit, allowing photographers to manipulate aspects such as light amplitude,
softness, falloff, and shape.

But these are just the tip of the iceberg. Advanced flash techniques like high-sync mode,
second-curtain synchronisation, and multi-flash setups introduce even more complexity
and nuance to the equation.

In this guide, we get into the intricacies of flash photography, offering insights into our
preferred techniques and go-to solutions for various shooting scenarios. Let’s explore the
art and science of illuminating your subjects with precision and creativity!

07
 a r t a n d
l o r e t he c t s w i t h
w e e x p ur s u b j e
n u s a s t i n g y o
o i
J of illum vity.i n a
c e r e a t i
scien ision and c
prec

FOCAL LENGTH: 28MM

APERTURE: F/6.3
SHUTTER SPEED:1/200
ISO: 125
FLASH POWER: 1/1
FLASH
EQUIPMENT

C
2h a p t er
In the world of photography gear, the choice of flash can significantly impact the
outcome of a project. With a multitude of manufacturers and types available, it’s
important to select the right flash for each endeavour. Broadly speaking, there are three
main categories of flashes: speedlights, monolights, and pack-and-head systems—each
with its own set of characteristics and applications.

We will concentrate on speedlights in this handbook, as they are our preferred choice for
wedding and event coverage.

SPEEDLIGHTS

Speedlights, also known as battery-powered portable flashes, are favoured by many

wedding photographers for their compact size and portability. Ideal for on-location
shoots, these flashes offer convenience and versatility. However, their relatively low light
output limits their effectiveness in illuminating large scenes. With an average power rating
of around 70W, speedlights pale in comparison to studio strobes, which can boast outputs
of 500W or more.

One of the key features of speedlights is TTL (Through The Lens) metering, which
automatically adjusts light power based on the camera’s metering system. While this can
save time in certain situations, it may lack the consistency desired by photographers who
want precise control over their lighting.

Another notable attribute of speedlights is that of their zoomable heads, allowing

photographers to adjust the coverage area of the light beam to suit their needs.
Additionally, speedlights offer exceptionally short flash durations at low output settings,
making them a favourite among still-life photographers for freezing motion.
Despite their versatility, older or lower-quality speedlights may exhibit issues such as
erratic output and colour inconsistency from shot to shot. However, modern solutions
have addressed many of these concerns, offering improved performance and reliability.

10
 SPEEDLIGHT ACCESSORIES

When it comes to flash accessories, speedlights may not offer the extensive range of
options available for monolights or pack-and-head systems. However, there are still a
variety of modifiers available, including small softboxes, bounce cards, beauty dishes,
diffusers, and gels.

Understanding the relationship between the size of the lighting source and the quality of
light it produces is fundamental in photography. Simply put, larger light sources create
softer light, while smaller ones produce harsher shadows. This principle forms the basis of
many lighting techniques employed by photographers to achieve their desired effects.

To harness the softening effect of larger light sources, you can use light modifiers such as
softboxes or umbrellas, which can enlarge the apparent size of the light, resulting in a
broader, more diffused illumination. Softboxes, for instance, consist of translucent fabric
stretched over a frame, effectively increasing the size of the light-emitting surface.
Similarly, umbrellas function by reflecting and diffusing light, creating a larger apparent
light source.

By employing these modifiers, photographers can achieve softer, more flattering light for
portrait photography, product shots, and various other applications. Additionally, the
ability to control the size and quality of light allows photographers to tailor their lighting
setups to suit specific subjects and creative visions.

When it comes to wedding photography, opting for softboxes or umbrellas isn’t practical.
Their bulkiness would hinder discretion, which is essential for capturing candid moments
naturally. Instead, we lean towards smaller modifiers for softening flash light when
necessary. However, more often than not, we opt to shoot without any modifier attached
to our flash.

In essence, understanding the relationship between light source size and softness enables
photographers to wield light modifiers effectively, unlocking a world of creative
possibilities and elevating the visual impact of their images. But it’s also important to
consider that using these accessories may reduce the output power of the flash.

11
FOCAL LENGTH: 28MM
APERTURE: F/9
SHUTTER SPEED:1/200
ISO: 100
FLASH POWER: 1/1
 OUR FLASH EQUIPMENT ARSENAL
As a seasoned professional photographer, you’re likely familiar with renowned speedlight
manufacturers such as Canon, Nikon, Profoto, and Godox. In our studio, we swear by the
Godox V1 for its exceptional performance, boasting three standout features:

Rechargeable Battery: The Godox V1 comes equipped with its own rechargeable battery,
providing extended usage and impressively fast recycle times. This ensures uninterrupted
shooting sessions, allowing us to capture every moment with precision and ease.

Soft Light Falloff: One of the most striking attributes of the Godox V1 is its remarkably soft
falloff of light. This results in a gentle, diffuse illumination with seamlessly blended edges,
creating a flattering and natural-looking light quality that enhances the overall visual
appeal of our images.

Affordability: Despite its top-notch performance and advanced features, the Godox V1 is
available at a significantly lower price point compared to its competitors. This makes it an
attractive option for photographers seeking high-quality equipment without breaking the
bank.

Given our preference for off-camera flash setups, we rely on the Godox X PRO II
transmitters to control our flashes remotely. These transmitters enable quick and precise
adjustments to flash settings from a distance of up to 100 meters, ensuring easy
integration into our workflow.

Our flashes are typically mounted on monopods held by our assistants for added flexibility
and mobility during shoots. We’ve found the Benro MAD38A monopod to be a reliable
choice, offering sturdy construction and longevity at an affordable price. Opting for a black
monopod helps minimise light reflection and promote discreet blending into the
background (particularly during nighttime shoots). To securely attach our flashes to the
monopods, we use metal cold shoe flash holders for added durability and safety. While
premium options like the Manfrotto MLH1HS-2 exist, we’ve had excellent results with
budget-friendly alternatives purchased from Amazon. These cost-effective solutions offer
peace of mind, ensuring our equipment remains intact and functional throughout countless
shoots.

In essence, our approach to flash equipment is centred on simplicity, reliability, and

versatility, allowing us to focus on capturing exceptional images without running into
unnecessary complications.

13
OUR GO-TO FLASH
EQUIPMENT LIST
for Weddings

Godox V1 flash x 3

Godox X PRO II transmitters x3

Benro MAD38A monopod x 2

Metal cold shoe flash holders x3

Tripods x 2
OUR CAMERA GEAR
for Weddings

Canon R5 x2
Canon R6 x2

Canon RF lens 28-70mm x2

Canon RF lens 24-70mm
Canon L series lens 24mm x2
Canon L series lens 100 mm
Canon L series 35mm
3 Chapter

NATURAL LIGHT
VS. FLASH LIGHT
FOCAL LENGTH: 28MM
APERTURE: F/13
SHUTTER SPEED:1/250
ISO: 125
FLASH POWER: 1/1
 COMPARING THE CHARACTERISTICS OF NATURAL LIGHT AND
FLASH PHOTOGRAPHY

Understanding the nuances of light, whether it’s natural sunlight or the controlled burst of
a flash, is essential for photographers to bring their vision to life. Natural light, originating
from the sun, presents various challenges and opportunities—from harsh midday sun to
soft, diffused light on cloudy days or indoors next to a window. In wedding photography,
where weather and timing are often beyond control, mastering natural light is crucial.
Conversely, flash offers complete control, regardless of weather or itinerary. When
comparing natural light and flash photography, several distinct differences emerge:

SOURCE AND CONSISTENCY:

Natural light varies in intensity, colour, and direction based on factors like time of day and
weather conditions. In contrast, flash provides consistent intensity and direction with each
activation, offering photographers precise control over their lighting environment.

COLOUR TEMPERATURE:

While natural light exhibits a broad range of colour temperatures depending on the time
of day, flash typically produces a consistent colour temperature akin to daylight (5600k),
facilitating easier colour balance adjustments.

SOFTNESS AND DIRECTIONALITY:

Natural light can create soft or harsh shadows depending on the time of day and
environmental factors. Flash photography, on the other hand, allows photographers to
manipulate the direction and softness of light using modifiers like softboxes or umbrellas,
offering greater creative flexibility.

DURATION:

Flash photography delivers short bursts of light to freeze motion, while natural light may
result in longer exposure times and potential motion blur.

18
Despite their inherent differences, both natural light and flash photography have their own
respective strengths and weaknesses. While natural light gives photographs an organic
and authentic feel, flash photography offers unparalleled control and consistency. For
photographers seeking to create editorial or fashion-forward images, flash usage often
becomes more of a necessity than a choice.

In practice, many wedding photographers opt for a hybrid approach, blending natural
light and flash to capitalise on the strengths of each technique in different shooting
scenarios. By mastering the nuances of both lighting sources, you can elevate your craft
and produce compelling visual narratives that resonate with viewers.

SITUATIONS WHEN FLASH IS USEFUL, EVEN DURING DAYTIME

In photography, the absence of natural light—such as during nighttime or indoor shoots—

often necessitates the use of flash; this is a straightforward concept. However, the
versatility of flash extends beyond these scenarios, proving useful even in broad daylight.

Picture this: you’ve found the perfect backdrop for a bridal portrait, but harsh midday
sunlight casts unflattering shadows on your subject’s face. While a light diffuser may
suffice for close-ups, capturing a full-body shot presents a challenge. Carrying a diffuser
large enough to soften sunlight across the frame isn’t practical for most wedding
photographers. Here’s where flash comes to the rescue. By strategically deploying flash,
you can effectively fill in shadows, achieving balanced lighting and adding a fashionable
touch to your images.

Indeed, flash is a multifaceted tool capable of salvaging challenging lighting conditions

and taking your photography to new heights.

19
FLASH LIGHT.
UNDERSTANDING
THE BASICS.

e r
pt
ha
C
FOCAL LENGTH: 28MM
APERTURE: F/9
SHUTTER SPEED:1/250
ISO: 800
FLASH POWER: 1/16
 BASIC FLASH SETTINGS YOU SHOULD KNOW

MANUAL MODE
FLASH POWER
BEAM ANGLE
FIRST CURTAIN SYNCHRONISATION
HIGH SPEED SYNCHRONISATION

MANUAL MODE:

The manual mode in speedlight flash photography is important for photographers who
want precise control over their lighting setups. While automatic and TTL (Through The
Lens) modes are convenient in certain situations, manual mode provides photographers
with greater creative freedom and control.

Manual mode lets you experiment with different lighting ratios, intensities, and beam
angles. By adjusting the flash power manually, you can achieve specific lighting effects to
match your creative vision.

Manual mode is essential when balancing flash with ambient light. By manually adjusting
the flash power, you can achieve a balanced exposure between the subject illuminated by
the flash and the background lit by ambient light. This is particularly useful in outdoor or
mixed-lighting scenarios.

There are many more reasons why manual mode is ”the one,” but we hope we’ve got you
convinced by now. ;)

FLASH POWER:

Flash power in a speedlight refers to the amount of light emitted by the flash unit during a
photographic exposure. It is a crucial parameter photographers can control to achieve the
desired exposure and lighting effects in their images. Flash power is typically measured in
terms of “power stops” or “fractional power.”

For instance, if a flash is set to 1/1 power, then it is firing at its maximum output; if it is set
to 1/2 power, it is emitting half the maximum output, and so on. The fraction denotes the
proportion of the flash’s full capacity being used.

22
BEAM ANGLE:

The beam angle in a speedlight flash refers to the spread of light emitted by the flash unit.
It defines the coverage or width of the illuminated area and plays a significant role in
controlling the light’s distribution and coverage within a scene. The flash beam angle is
typically measured in millimetres and indicates how disperse or narrow the light coming
out of the flash head is.

For example, you will need a wider beam angle to cover group shots, while for portrait
photography, you might opt for a narrower beam angle to emphasise the subject you are
capturing.

FIRST CURTAIN SYNCHRONISATION :

When photographing weddings, we predominantly use First Curtain Synchronisation.

In First Curtain Sync mode, the flash activates at the onset of the exposure, immediately
after the camera’s initial shutter curtain opens. Consequently, the flash illuminates the
subject at the commencement of the exposure, effectively freezing their motion at that
precise moment.

HIGH SPEED SYNCHRONISATION :

High-Speed Sync (HSS) in speedlight flash photography is a technology that allows

photographers to use a flash at shutter speeds higher than that of the camera’s standard
flash synchronisation speed. The standard sync speed is typically around 1/200 to 1/250
seconds for many cameras—and beyond this speed, the entire image may not be evenly
illuminated by the flash. High-Speed Sync addresses this limitation, enabling flash
photography at faster shutter speeds.

High-Speed Sync works by pulsing the flash multiple times very quickly during the time
when the shutter curtains are open, allowing for even illumination across the entire frame
even at very fast shutter speeds.

High-Speed Sync is particularly valuable in situations where using a fast shutter speed is
necessary, such as when shooting in daylight. It allows photographers to control the
ambient light while still using fill-flash to illuminate the subject. It’s important to remember
when utilising high-speed sync that pulsating outbursts of flash will result in lower flash
power. So, it will become more difficult to balance flash light power with bright daylight,
especially when you need to lit a large area and/or from a distance.

23
 CAMERA SETTINGS WHILE WORKING WITH FLASH

SHUTTER SPEED
APERTURE

When working with a speedlight flash, understanding and manipulating certain camera
settings is critical to achieving the desired results. Here are the key camera settings to
consider and how altering them can affect the final outcome:

SHUTTER SPEED:

Impact: Shutter speed controls the duration of the exposure. Shutter speed doesn’t affect
the amount of flash light reaching your sensor at all, since the flash bursts last for
milliseconds. As long as you are at flash sync speed or lower, shutter speed changes won’t
have any impact on your flash power.

Adjustment: A faster shutter speed can reduce the amount of ambient light, making the
flash more dominant. Slower shutter speeds will allow more ambient light in.

APERTURE (F-STOP):

Impact: Aperture controls the amount of light entering the camera and affects the depth
of field. It affects all kinds of light (ambient and flash simultaneously) reaching your
camera sensor.

Adjustment: A wider aperture (smaller f-stop number) lets in more light (flash and
ambient).

24
 MANAGING INTENSITY OF FLASH

Before exploring how flash can be balanced with ambient light, let’s first dive into
understanding one of the most basic (and at the same time, important) factors in flash
usage. Understanding and effectively managing the intensity of flash involves navigating
several interconnected factors:

FLASH SETTING
DISTANCE BETWEEN THE FLASH AND THE SUBJECT
APERTURE SETTING ON THE CAMERA

First of all, the configuration of the flash unit plays a crucial role. This includes settings
such as power output and beam angle (how much flash is zoomed in or zoomed out),
which directly influence the intensity of the emitted light.

Additionally, the distance between the flash and the subject impacts how much flash light
reaches the subject. As a rule of thumb, the closer the flash is to the subject, the more
intense the light on the subject will be.

Furthermore, the aperture setting on the camera controls the amount of light allowed
through the lens. Adjusting the aperture affects the exposure of the image, making it
brighter or darker.

By manipulating these three variables—flash configuration, flash-to-subject distance, and

aperture value—photographers can fine tune the intensity of the flash to suit their creative
vision.

25
FOCAL LENGTH: 24MM
APERTURE: F/8
SHUTTER SPEED: 1/13
ISO: 1600
FLASH POWER: 1/64
 ON-CAMERA VS. OFF-CAMERA FLASH

When using speedlight in photography, a pivotal decision that significantly influences the
final result is whether you employ it on or off-camera, possibly with assistance. While a
tripod might be considered for off-camera flash, the dynamic nature of wedding
photography often calls for continuous movement, rendering tripod use suitable for only
specific scenarios like family portraits or flatlay shots. Both on-camera and off-camera
flash usage present distinct advantages and disadvantages, which we’ll delve into below:

ON-CAMERA FLASH:

Utilising on-camera flash offers the convenience of operating the flash independently,
without the need for an assistant or rearranging equipment.

However, it’s crucial to note that the light originates from the camera position. In this
scenario, you can direct the flash towards the same direction as your lens, or bounce it off
a surface like the ceiling or a wall to achieve softer lighting.

Despite the appeal of soft light created through bouncing, our studio typically avoids this
option due to concerns regarding consistency. Achieving consistent results can be
challenging with this method, as it’s not always possible to find an appropriate surface for
bouncing.

When the flash aligns with the lens direction, the subject’s front side receives even lighting,
with shadows being mostly concealed behind the subject. While this produces a distinctive
look favoured by many photographers, it also comes with some drawbacks. Maintaining
the same distance from the subject is essential. Altering your distance will require frequent
flash settings adjustments, or the usage of TTL (which, on its own, is prone to producing
inconsistent results).

27
OFF-CAMERA FLASH:

Opting for off-camera flash provides photographers with greater flexibility. The ability to
move freely without affecting light consistency offers enhanced creative control.
Moreover, you can reposition the flash to experiment with various lighting setups without
altering your shooting frame.

For instance, positioning the light slightly above your subject’s eye level can mimic the
natural angle of evening sunlight, resulting in a more organic aesthetic. This approach
creates the opportunity to craft diverse lighting effects while maintaining a stable
shooting perspective, enhancing overall creative freedom and flexibility.

28
 Chapter
TECHNIQUES FOR
BALANCING
AMBIENT LIGHT
WITH FLASH

5
 THE INTERPLAY BETWEEN FLASH AND AMBIENT LIGHT

The interplay between flash and ambient light adds yet another layer of complexity. While
flash intensity remains constant, the shutter speed on the camera determines how much
natural light contributes to the exposure. This offers photographers the flexibility to craft
different lighting effects.

Below, we will discuss three main techniques for combining natural light and flash:

USING FLASH AS A KEY LIGHT

BALANCING FLASH AND AMBIENT LIGHT
USING FLASH AS “FILL IN” LIGHT

USING FLASH AS A KEY LIGHT

What it means:
The strongest light source for lighting your subject is your flash.
Using a speedlight flash as the key light in photography refers to employing the flash as
the primary light source that illuminates the main subject in the scene. In this scenario,
your flash light plays a central role in shaping the subject, creating highlights and
shadows, and establishing the image’s overall mood.

Recipe:
Use a fast shutter speed. This enables you to minimise the impact of ambient light
Effectively position the flash as the primary source of illumination in your scene
It’s essential to first determine the optimal exposure for the background and then
reduce the amount of ambient light to your preference
Adjust the flash power to achieve your desired result

30
USING FLASH AS A KEY LIGHT

FOCAL LENGTH: 35MM

APERTURE: F/6.3
SHUTTER SPEED: 1/200
ISO: 100
FLASH POWER: 1/8
For reducing ambient light, understanding the relationship between shutter speed and
exposure is key.

As we discussed in the previous chapter, shutter speed adjustment DOESN’T affect your
flash power directly, but it DOES affect the amount of ambient light. So, if we want to
minimise the amount of ambient light, we can simply adjust our shutter speed.

Each full step of shutter speed on your camera settings is called a “stop,” and either
doubles or halves the amount of ambient light reaching the camera sensor.

For example, if the shutter speed value is 1/30 sec and you change it to 1/60 sec, this
means you will halve the amount of ambient light you allow to reach the camera sensor.
Therefore, when underexposing the background to emphasise the flash’s contribution, an
increase of shutter speed by one or two stops is typically sufficient. This intentional
underexposure ensures that the ambient light recedes into the background, allowing the
flash to take centre stage in illuminating your subject.

Once you’ve established the desired background exposure, your attention should now turn
to setting up your flash power to achieve a balanced exposure for your subject. This
involves fine-tuning the flash power, considering its position and angle relative to the
subject, and potentially incorporating light modifiers to control the quality and direction of
light.

Embracing this approach opens up possibilities for creating striking, high-contrast imagery
characterised by dramatic highlights and deep shadows. By leveraging the flash as the
primary light source and strategically managing ambient light through shutter speed
adjustments, you can craft compelling photographs with bold visual impact.

32
BALANCING FLASH AND AMBIENT LIGHT

What it means:
You can produce a more natural-looking illumination by blending flash light and natural
light seamlessly. This technique is often employed in portrait photography to achieve
flattering, evenly lit compositions.

Recipe:
Adjust your camera settings to achieve a perfect exposure for the background
The goal is to maintain the settings of the camera and then set the flash power to
work with the selected camera settings. This will produce consistency in exposure
across the entire frame.

To achieve the ideal balance in a way where your background and your subject are lit, it’s
essential to fine tune your camera settings and flash configuration. Start by adjusting your
camera settings to achieve the perfect exposure for the background scenery or
environment. This involves finding the right combination of aperture, shutter speed, and
ISO to capture the background with clarity and detail.

Once you’ve dialled in the optimal camera settings for the background, it’s time to
configure your flash to illuminate your subject effectively. Make sure your flash settings
align with your camera settings so that you can maintain consistency in exposure across
the entire frame. This includes setting the flash power, adjusting the angle or direction of
the flash, and considering the use of modifiers to control the quality of light.

By carefully adjusting your camera settings, configuring your flash setup, and being
mindful of the synchronisation shutter speed, you can achieve a harmonious balance
between your subject and the background, resulting in well-exposed and visually
appealing photographs.

33
BALANCING FLASH AND AMBIENT LIGHT

FOCAL LENGTH: 28MM

APERTURE: F/3.5
SHUTTER SPEED: 1/200
ISO: 1250
FLASH POWER: 1/32
BALANCING FLASH AND AMBIENT LIGHT

FOCAL LENGTH: 28MM

APERTURE: F/5.6
SHUTTER SPEED: 1/200
ISO: 100
FLASH POWER: 1/2
USING FLASH AS FILL IN LIGHT

What it means:
You can emphasise ambient light over flash, granting natural light supremacy within the
scene while using the flash selectively to fill in shadows.

Recipe:
Configure your camera settings first to have the ideal exposure for the background
Configure your flash settings to perfectly light your subject
Intentionally reduce the flash power so that flash light will become less prominent for a
more natural looking result

In certain situations, you might choose to emphasise ambient light over flash while using
the flash selectively to fill in shadows or accentuate highlights as necessary.

In this setup, it’s important for ambient light to adequately illuminate both the background
and the subject. The workflow typically begins by configuring your camera’s aperture,
shutter speed, and ISO settings to attain the ideal exposure for the background.
Subsequently, you’ll fine tune the flash intensity to first perfectly light your subject, and
then dial it down by one or two stops to ensure the desired lighting composition.

In summary, mastering flash intensity involves a delicate balance of technical knowledge

and creative experimentation. By understanding the relationship that exists between flash
configuration, distance, aperture, and shutter speed, you can wield flash photography as a
powerful tool for crafting captivating images in a variety of lighting conditions.
In the following chapter, we will be offering more tips on seamlessly integrating flash with
natural light for a harmonious look.

36
USING FLASH AS FILL IN LIGHT

FOCAL LENGTH: 28MM

APERTURE: F/14
SHUTTER SPEED: 1/200
ISO: 250
FLASH POWER: 1/2
OUR PREFERRED
APPROACHES TO
VARIOUS WEDDING
MOMENTS

p te r
Cha
If you ask 100 photographers what they consider to be their weakness, 90 of them will say:
“Working with flash.” For multiple reasons, this amazing tool can prove intimidating for
many. We will try to break this pattern and elaborate on how we use flash throughout the
wedding day, which settings we select, and how we position the flash to achieve our
desired results. And trust us—after reading this chapter, it will be as simple as you always
wished it would be!

FLATLAYS

Photographing flatlays has become a prominent trend in recent years, offering a visually
appealing way to showcase various items. However, a new approach has emerged in the
realm of flatlay photography, incorporating flash lighting techniques to infuse a sense of
fashion and modernity into the images. Here’s how we use flash in our flatlay
photography:

OUR FLATLAY LIGHTING SETUP WITH OFF-CAMERA FLASH

Position an off-camera flash on a tripod (or have an assistant help you with it),
ensuring that it is at a 30- to 45-degree angle relative to the perpendicular axis of the
ground. This arrangement creates subtle shadows that enhance the form and depth of
each item in the flatlay
Place the flash on the side of the camera and at least one meter above the flatlay
surface to achieve even lighting across the entire scene
Avoid obstructing the flash light path to prevent casting unwanted shadows on the
flatlay

39
FLATLAYS

40
CHOOSE BETWEEN TWO OPTIONS FOR HANDLING AMBIENT LIGHT

Option one:
Photograph your flatlays in low-light conditions indoors, allowing the flash to overpower
the ambient light completely. This creates a controlled lighting environment with minimal
interference from external sources.

Option two:
Use direct sunlight as the primary light source, and use the flash to fill in shadows. Position
the flatlay in such a way that the sun will light the flatlay from one of its top corners, while
placing the flash at the opposite low corner. Adjust the flash power to be one or two stops
lower than the ambient light to maintain visible shadows from direct sunlight without
overwhelming the scene. (Remember the technique “using the flash light as a fill in light”
we discussed in the previous chapter?)

ADDRESSING UNEVEN LIGHTING IN FLATLAYS

If the flash doesn’t light the flatlay evenly, consider two solutions:

Increasing the distance between the flash and the flatlay to spread the light more
evenly.
Adjusting the angle of the flash and directing more light towards the darker areas,
ensuring uniform illumination. (This technique is also employed by photographers
creating photo replicas of paintings while using a single flash or light source. By
positioning the light to one side and angling it towards the opposite end of the
painting, they can achieve even illumination across the entire artwork, minimising
reflections and shadows.)

41
FLATLAYS

FOCAL LENGTH: 59MM

APERTURE: F/8
SHUTTER SPEED: 1/100
ISO: 800
FLASH POWER: 1/64
FLATLAYS

FOCAL LENGTH: 35MM

APERTURE: F/6,3
SHUTTER SPEED: 1/250
ISO: 160
FLASH POWER: 1/16
 PORTRAITS

This is where creativity flourishes! In modern wedding photography, couples often want
portraits that capture candid moments brimming with movement, emotion, and a sense of
carefree spontaneity. Rather than freezing them in one spot, unable to move, we aim to
create images that reflect their dynamic connection and personalities.

However, achieving this while ensuring beautifully lit images requires careful planning and
preparation. No matter how good you are with making your couples feel loose in front of
the lens, if you’ve scheduled the time slot for their portraits when the sun is high and harsh,
then instead of thinking how to produce artful images, you’ll soon find yourself trying to
save your dignity by creating a few presentable photographs. Flash is a useful tool, but it
can’t do miracles. Timing is crucial.

When shooting portraits, we prefer having an assistant hold the flash, since it offers us
flexibility and ease of movement.

We always position the flash on the same side as the lens, approximately one meter
above the camera. This helps minimise unflattering shadows and ensure even lighting for
multiple subjects. This means if we photograph two people, they are both evenly lit without
casting shadows on each other.

Keep in mind, consistency is key when using flash. Set your flash to manual mode to
maintain control over the lighting. Avoid frequent adjustments to camera settings (and if
adjusting the ambient light power is needed, change your shutter speed rather than your
aperture).

Additionally, make sure your assistant maintains a consistent distance from the subject.
When your subject is moving, your assistant should move with the flash accordingly, so he
keeps the same distance from the subject at all times. Lastly, remember not to get too
close to your subject when you are photographing, because in this case, it will be
impossible to avoid casting a shadow on it.

When blending ambient light with flash, several approaches can yield stunning results—
but we will list our favourites.

44
PORTRAITS WITH DIRECT SUNLIGHT ON YOUR SUBJECT

In this case, the sun should be low, at least 55-to-60 degrees—evening or early morning.
Use your flash at an even power with the sun, hitting your subject from the side of the lens
and keeping the flash a meter above the camera. This light creates an editorial look with
fashionable vibes.

45
DIRECT SUN LIGHT ON YOUR SUBJECT

FOCAL LENGTH: 28MM

APERTURE: F/18
SHUTTER SPEED: 1/125
ISO: 100
FLASH POWER: 1/1
DIRECT SUN LIGHT ON YOUR SUBJECT

FOCAL LENGTH: 24MM

APERTURE: F/11
SHUTTER SPEED: 1/200
ISO: 100
FLASH POWER: 1/1
OPEN SHADOW OR CLOUDY DAY PORTRAITS

On a sunny day, an open shadow can be produced by a large surface or structure like a
building. In this case, you can use your flash at an even power with the ambient light or a
stop less, hitting your subject from the side of the lens, and keeping your flash a meter
above the camera. You can use exactly the same method on a cloudy day—only this time,
you don’t need to use a building to cast a shadow. Using flash in these conditions makes
your subject pop and the colours appear more vibrant.

48
OPEN SHADOW OR CLOUDY DAY

FOCAL LENGTH: 28MM

APERTURE: F/5
SHUTTER SPEED: 1/200
ISO: 250
FLASH POWER: 1/32
SUNSET TIME (LAST LIGHT OF THE DAY) PORTRAITS

At this time, we usually only photograph with ambient light, since it is the most amazing
light you could possibly wish for.

Sometimes, however, you want to clearly see the colours of the sunset in your background
—and in this case, it is impossible to have even exposure on the background and your
subject without using artificial lights.

If you expose for the background to showcase the sunset, this will result in your subject
being totally underexposed. You can deploy your flash here to light the subject, but make
sure to underexpose your flash at least a stop; otherwise, your subject will look as if it was
“photoshopped” in the image.

50
PORTRAITS DURING HARSH AND HIGH SUN

If shooting outdoors in harsh midday sun is unavoidable, strategic positioning of your

subject becomes essential. In this case, you need to make sure the sun is lighting the back
of your subject (backlight). This way, you will produce the best imagery possible, ensuring
even lighting without harsh shadows appearing on your subject’s face or squinting eyes.

After positioning the sun behind your subject, you need to set the flash to an equal power
level with the sun. Ensure that you place your flash to the side of the lens, directed towards
your subject. Maintain the flash’s height at approximately one meter above the camera.

51
HARSH AND HIGH SUN PORTRAITS

FOCAL LENGTH: 28MM

APERTURE: F/9
SHUTTER SPEED: 1/200
ISO: 100
FLASH POWER: 1/1
HARSH AND HIGH SUN PORTRAITS

FOCAL LENGTH: 24MM

APERTURE: F/7,1
SHUTTER SPEED: 1/250
ISO: 100
FLASH POWER: 1/1
NIGHT PORTRAITS. FLASH AS A KEY LIGHT

As in all previous scenarios, when shooting night portraits, our flash is aiming at our
subject from the side of the lens and a meter above the camera. If there is a surface
suitable to use as a background, then positioning the subject about a meter away from
the background adds depth to the image and prevents the subject from appearing too
closely attached to the backdrop. This setup allows the flash to illuminate both the subject
and the background.

54
NIGHT PORTRAITS. FLASH AS A KEY LIGHT

FOCAL LENGTH: 28MM

APERTURE: F/8
SHUTTER SPEED: 1/60
ISO: 2000
FLASH POWER: 1/64
NIGHT PORTRAITS. LETTING AMBIENT LIGHT IN

You can also use ambient light to capture night portraits. In this scenario, it’s important to
adjust your camera settings to accommodate the low light conditions.

Start by setting your camera to properly expose the background, considering factors
like aperture, shutter speed, and ISO. Since ambient light levels are typically low at
night, using a higher ISO setting (such as 800 or above) may be necessary to achieve
proper exposure
Adjust your flash power to complement the ambient light. Since the ambient light is
dim, setting your flash to a low power setting (such as 1/64 or below) will probably be
needed to maintain balance between the flash and ambient light

56
NIGHT PORTRAITS. LETTING AMBIENT LIGHT IN

FOCAL LENGTH: 24MM

APERTURE: F/8
SHUTTER SPEED:1/40
ISO: 1250
FLASH POWER: 1/32
 RECEPTION COVERAGE

Capturing appealing reception shots requires several skills and decision making. When do
we use flash, and when do we not? When do we use flash held by an assistant, and when
do we hold it on our own? Is there a time to use multiple flashes, and how do we do it? Is
there a way to help the camera focus fast in low light conditions so that we don’t lose
great shots on the dance floor? Let’s answer all these questions one by one, dissecting the
thought process throughout a common reception timeline so that everything clears out.

Before we start analysing each part of the reception, there is one rule we need to
understand about the relation between the distance of the light source and its intensity.
For those who were paying attention in the physics class, this rule should sound familiar:
The intensity of the light is proportional to the reciprocal of the square of the distance
from the light source.

IIn plain English, this means that if you stand 10cm away from the light source and move
to 30cm distance, the intensity of the light that reaches you will decrease dramatically. On
the contrary, if you stand 5m away from the light source and you move to 5.20m distance,
the decrease of the intensity will be really small.

The bottom line is, the farther you place your light source from the area you are
photographing, the more space you can cover with almost even light. Pretty useful! Let’s
keep that in mind and start analysing the reception lighting needs further.

58
FAMILY PORTRAITS

We always prefer to schedule family portraits immediately after the ceremony. Opting for
a backlight scenario helps us avoid direct light on our subjects' faces, therefore minimizing
squinting.

Our typical setup for capturing family photos involves using two flashes. With larger
groups, one flash may not suffice. Therefore, we position both flashes on tripods and
make sure that people form a relatively straight line, ensuring even lighting for everyone.
The flashes are positioned approximately 3-4 metres away from the subjects, one on the
left of the photographer and the other on the right.

When it comes to pointing your flashes, you should devide the area you’re using for the
family portraits in 3 equal parts. The left flash should point at 1/3 of the area, and your
right flash should point at the 2/3 of the area. If you point both flashes at the middle, you
will end up lighting the center more than the edges

As previously mentioned, we prefer a backlight scenario, positioning the subjects with their
backs to the sun. Following the technique discussed in the "Portraits" section, we expose
for the background first, then adjust the flashes to match the power of the sun, achieving
a balanced blend of ambient and flash lighting for a natural-looking result.

59
FAMILY PORTRAITS

FOCAL LENGTH: 24MM

APERTURE: F/5,6
SHUTTER SPEED: 1/200
ISO: 100
FLASH POWER: 1/8 (TWO FLASHES)
COCKTAIL HOUR

Cocktail hour presents a dynamic environment and is perfect for capturing candid guest
portraits and spontaneous moments. Whether it’s held during the daytime outdoors or
transitions into the evening or indoor settings, we love to utilise flash, and we approach
daytime, nighttime, or indoors with the same logic.

During daytime cocktail hours held outdoors, natural light often provides sufficient
illumination. However, we still seize the opportunity to enhance our images by
incorporating flash to add depth and dimension. By now, we have successfully established
how we balance ambient light in all situations, so we will next elaborate mostly on flash
and camera positioning.

Since most of the time, there is space to move around during cocktail hour, we have our
assistant holding the flash to ensure mobility and flexibility as we move around the space.
As always, the flash is positioned from the side of the lens and approximately a meter
above camera height to achieve even lighting and prevent unflattering shadows, and it’s
crucial for the assistant to maintain a consistent distance from the subject throughout the
session to ensure uniform lighting.

However, what needs to be noticed is that using flash comes with some restrictions. At this
point, you will often need to photograph groups of two-to-three people or more. To
achieve even light for all, we must ensure that everyone is standing next to the other,
creating a line, and the flash (along with the camera) is placed opposite to this line, having
the same distance from both ends of it.

61
COCKTAIL HOUR | DETAIL

FOCAL LENGTH: 43MM

APERTURE: F/11
SHUTTER SPEED: 1/200
ISO: 250
FLASH POWER: 1/8
COCKTAIL HOUR | 2 PEOPLE TALKING

When shooting reportage, the task is more complicated. In order to describe a moment,
you have to position yourself perpendicular to the action. For instance, when capturing
two people chatting, the best position to see both faces is perpendicular to the line
created by them, keeping equal distance away from both. The same logic applies for the
flash positioning. That way, both the camera and the flash are on the same axis (flash one
meter higher than the camera) and the flash provides the same light for both people.

63
COCKTAIL HOUR | 3 PEOPLE TALKING

When capturing a scene with more than two people, the task becomes more difficult, as
they will not be standing in a line for us to apply the technique we discussed above. In this
case, we will use the physics rule we explained earlier.

First, we need to place our flash 2.5m or more away from the group we are
photographing, so that we can have almost even light for all. Keep in mind that flash
should be high enough to avoid creating unwanted shadows.

Second, we need to be patient and wait for the moment when everyone is visible and no
one is casting shadows on the others. For photos with three people, one approach is to
find the biggest opening of the triangle they are creating and place yourself so that you
have equal distance from the two people who are closest to you. Notice that when the
person farthest away from you speaks, the two others on the sides turn away from you.
That is why you have to wait until one of the side people speaks so that the other two are
looking towards them. If you are patient, you will most likely get a nice reaction like
laughter or chin-chinnings. Perfect light and a perfect moment!

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COCKTAIL HOUR

FOCAL LENGTH: 28MM

APERTURE: F/7,1
SHUTTER SPEED: 1/160
ISO: 100
FLASH POWER: 1/2
COCKTAIL HOUR

FOCAL LENGTH: 28MM

APERTURE: F/7,1
SHUTTER SPEED: 1/125
ISO: 125
FLASH POWER: 1/8
CUTTING OF THE CAKE /CHAMPAGNE TOWER

Weddings are once-in-a-lifetime occasions, and simplicity often yields the best results.
Therefore, we prefer to keep things uncomplicated by using a single light source for these
moments.

For cake cutting or a champagne tower, employing a flash held by your assistant—
directed at the subject from the same angle as your lens and positioned about a meter
higher—reliably captures these significant moments. However, it’s essential to also
consider ambient light, particularly if there’s a spotlight on the couple or fireworks in the
background. In such cases, using the maximum shutter speed that synchronises with your
camera flash helps prevent motion blur.

When selecting a position to capture moments like cake cutting or the champagne tower
at weddings, it's typically best to position yourself to the side of the bride. This helps
prevent two common issues: the groom casting a shadow on the bride, as he is often
taller, and shadows being cast on your subjects by the cake or champagne tower.

67
CHAMPAGNE TOWER

FOCAL LENGTH: 24MM

APERTURE: F/7
SHUTTER SPEED: 1/60
ISO: 500
FLASH POWER: 1/2
CUTTING OF THE CAKE

FOCAL LENGTH: 24MM

APERTURE: F/7
SHUTTER SPEED: 1/60
ISO: 500
FLASH POWER: 1/2
FIRST DANCE

The first dance presents unique challenges, as the subjects are not confined to a specific
spot, especially if the couple has choreographed their routine. Since our assistant can’t
continuously adjust their position to maintain the same distance from the subjects, you
may need to adapt your settings accordingly.

It’s advisable to pre-set your flash power settings for optimal exposure when the couple is
in the centre of the dance floor, where they’re likely to spend most of their time. Since the
power of flash can be regulated with aperture, you can adjust your aperture value as
needed when they move closer or farther away.

Tip no1: Coordinate with the couple in advance to determine where they will be facing
most of the time during their dance, allowing you to position yourself correctly without
having to move frequently. During these moments, the side of the dance floor can get
crowded, and it’s not easy to change your spot. Also, the most important shot is usually
the finale of the first dance, and you want to make sure you’re in the right spot to capture
the iconic moment without disruption.

Tip no2: Remember your physics lesson! Put your flash at a distance—not close to your
subjects—to minimise the need for aperture adjustments.

Tip no3: If you wish to use a second flash, the easiest way to implement it is to put it on a
stand and place it as a back light. Use the space to put it at a distance so that you won’t
need to make adjustments, and if possible, place it outside your frame to prevent flare.
The second flash can add depth to your images, but our advice would be to get
experienced with using one flash before you start using a second one.

70
FIRST DANCE 1 FLASH

71
FIRST DANCE 2 FLASHES

72
FIRST DANCE

FOCAL LENGTH: 24MM

APERTURE: F/9
SHUTTER SPEED: 1/100
ISO: 1600
FLASH POWER: 1/32
SPEECHES

Speeches are a profoundly emotional aspect of the reception and offer numerous
opportunities to capture significant moments for your couples. However, they also present
a unique challenge for photographers, as they must simultaneously focus on two subjects:
the individual delivering the speech and the couple. Manoeuvring around tables in tight
spaces can prove difficult, particularly when accompanied by photography equipment or
an assistant.

In such situations, our preferred approach is to position a tripod with a flash directed at
the couple throughout the speeches, ensuring careful consideration of height and angle to
avoid shadows from decor or flowers. Meanwhile, our assistant handles a separate flash
aimed at the speaker. This setup allows for flexibility in adjusting the direction of the flash
to accommodate any movement by the speaker. It’s vital to adjust the flash power for
each unit so that you can use the same camera settings whether you’re photographing
the couple or the speaker.

Since speeches are often extended, with the most important moments happening towards
the end, there is usually plenty of time to make adjustments as needed to ensure
readiness for capturing the key moments.

An invaluable tip is to communicate with your couples prior to the event and provide them
with basic guidance on speech etiquette. Request that speakers stand at a designated
spot, which not only facilitates smoother logistics for photography but also minimises
visual distractions such as food dishes, decoration, or wait staff entering the frame.
Agreeing on this in advance will also make it easier for you to place the assistant with the
flash to illuminate the speaker effectively.

74
SPEECHES

75
SPEECHES

FOCAL LENGTH: 35MM

APERTURE: F/3,5
SHUTTER SPEED: 1/80
ISO: 1600
FLASH POWER: 1/64
 PARTY TIME

We’ve finally arrived at the most exciting part of the wedding day—the party! Capturing
the story of the festivities involves several key shots that are essential for documenting
the joyous occasion.

First, you’ll want to capture some wide-angle shots to showcase the entire dance floor.
This provides a sense of the overall atmosphere and energy of the party. Second, it’s
important to highlight the entertainment, whether they be a band, DJ, dancers, or
percussionists. Finally, capturing candid moments of the couple, their family, and guests
enjoying themselves is essential for completing the narrative.

WIDE-ANGLE SHOTS OF THE DANCE FLOOR

For wide-angle shots of the dance floor, utilising ambient light is often the best approach
to preserve the party’s ambiance. Lighting the whole dance floor with your flash can
detract from the mood and feeling of the event. However, if ambient light is insufficient
and you can’t produce a high quality image, our suggestion would be to experiment with
side lighting or back lighting with your flash.

Remember, positioning the flash 2-to-3 meters away from the dance floor ensures even
lighting across a larger area. Once you place your flash, wait for an action like someone
lifting their hands high in the middle of the dance floor. Even generic shots must have their
heroes!

77
WIDE ANGLE SHOTS OF THE DANCE FLOOR

78
WIDE ANGLE SHOTS OF THE DANCE FLOOR

FOCAL LENGTH: 24MM

APERTURE: F/2,8
SHUTTER SPEED: 1/80
ISO: 2500
FLASH POWER: 1/32
CAPTURING THE BAND, ENTERTAINMENT

For capturing the entertainment, using the flash can be more helpful. A lot of the time, it is
not a necessity because bands, dancers, and sometimes DJs will already have good lights
pointing at them. Nevertheless, adding the flash can help produce more crisp images and
stay cohesive with the rest of the imagery you have produced up till that moment.

You first need to adjust your camera settings according to the ambient light, and then set
the flash power to match these settings.

Although we will always be a fan of head on lighting, when we’re shooting the band, we
always like to play a bit more with the flash direction. One shot we often replicate is
photographing the lead singer from the side while our assistant is positioned at a different
spot, pointing the flash at the front of the singer. That way, the singer’s side is lit by the
coloured ambient light, while the front has a white highlight from our flash. Keep in mind to
use a high shutter speed value that syncs with your flash to avoid motion blur.

80
CAPTURING THE BAND, ENTERTAINMENT

FOCAL LENGTH: 24MM

APERTURE: F/9
SHUTTER SPEED: 1/80
ISO: 1600
FLASH POWER: 1/32
PEOPLE DANCING

Finally, to complete the storytelling of a perfectly captured party, you will need to take
some great shots of couple dancing with their loved ones. The dance floor is usually a
crowded space, so working with an assistant is rarely an option.

Our go-to solution is holding the flash in one hand and the camera in the other, which
allows for quick and nimble manoeuvring. The key to success is being fast, since
interesting moments can appear in a fraction of a second.

A great tip is to use your camera in manual focus mode. We know this isn’t something you
would expect to read, but it is actually the fastest way to focus! Using a wide lens (we use
a 24mm) and an aperture value above f.8 will result in a depth of field that helps you
ensure that every image is crystal clear.

For instance, if you use aperture f.9 and set the manual focus on your lens at 1.2m, then
everything between 0.75m to 2.7m is going to be in focus. Just push the button and the
camera will respond without delay! You can thank us later. ;)

When it comes to settings for your camera and flash, a good starting point would be 1000
ISO, 1/60 shutter speed to capture some ambient light, aperture value f.9, and the flash
power for our Godox V1 would be 1/32. A good tip would be to shoot from the centre of
the dance floor towards out, so that you have the party lights as backlights and they are
not aiming at the face of your subject to avoid motion blur. If the party lights are intense,
simply adjust the shutter speed to capture less ambient light.

82
PEOPLE DANCING

83
PEOPLE DANCING

FOCAL LENGTH: 24MM

APERTURE: F/8
SHUTTER SPEED: 1/80
ISO: 800
FLASH POWER: 1/32
PEOPLE DANCING

FOCAL LENGTH: 28MM

APERTURE: F/7,1
SHUTTER SPEED: 1/200
ISO: 1600
FLASH POWER: 1/32
 OUTRO

We trust that by reaching this conclusion, you’re now feeling more

empowered to use and explore your flash lights. While using flash
lights may seem daunting at first, it’s certainly not rocket science! By
practicing the techniques we’ve outlined for you above, you’ll soon
gain more confidence in your ability to use flash effectively. You can
begin incorporating flash into your wedding photography gradually,
starting with the parts of the wedding day where flash is essential
(such as nighttime shots), and then expanding its use to other aspects
of the wedding day.

Keep experimenting—and enjoy the journey of mastering this

incredible tool!
 n j o y t h e
g — a n d e t o o l !
e ri m en t i n c r ed i b l e
e e p e x p t h i s i n
K mastering
e y o f
journ

FOCAL LENGTH: 28MM

APERTURE: F/7,1
SHUTTER SPEED:1/160
ISO: 400
FLASH POWER: 1/16