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I have been thinking of getting a flash to improve my low light photography (particularly indoors). However, there seem to be a number of different models available at similar price points (budget of INR 8,000-12,000 ~$150-250). What features and functionality should I look for to choose a suitable flash?

I'm using a Canon 550D with the 18-55mm IS & 55-250mm IS lenses. Metz seems to be one of the brands easily available in India (beside the OEM flashes). I'm considering the Metz 36 AF-5, 44 AF-1 and 50 AF-1, which seem to be considerably cheaper than their Canon counterparts.

Update: I got the Metz 44 AF-1, as it supports TTL (proper implementation & not reverse engineered, so should be more reliable than other brands) plus manual controls. It has a built in diffuser & reflector, and the head can be rotated & swivelled. It's cheaper than the Canon 430 Ex II as well.

I also got the On-Camera Flash Techniques for Digital Wedding and Portrait Photography by Neil van Niekerk, after going through quite a few of his blog posts on flash photography. I found his articles to be a better starting point (particularly for on-camera flash) than the Strobist.

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As a practical point, note that there's a line drawn between the lower end Metz flashes (36 AF-5 and down) and the others. The lower models are made in China to Metz specification; the 44 AF-1 and up are made in Germany actually by Metz. – mattdm Dec 5 '11 at 18:50
check info here… – rfusca Dec 5 '11 at 19:32
up vote 4 down vote accepted

Consider a flash with a head that you can twist around. This feature enables you to aim the flash at a nearby reflective surface (such as a wall) before firing. This technique is called 'bouncing' the flash off a surface. Doing this creates light that is generally more pleasing than if the flash is aimed straight at your subject.

More possibilities for aiming your flash (straight up/down, 360-degree swivel, etc) are available as you move up in price. More possibilities for movement = more options for using light creatively without buying additional pieces of gear to redirect light.

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+1 for the flash head that turns - a flash with out this feature is pointless. – Graeme Hutchison Dec 7 '11 at 15:17
Accepted this, as I made the purchase based on these parameters. – ab.aditya Jan 11 '12 at 16:56

The main speedlight features to consider are:


Speedlights (hotshoe flashes; distinct from outlet-powered studio strobes which are also flashes) are powered by AA batteries. As strobes go, they're the low end of the totem pole when it comes to power, so every spare bit of it you can scrape together is useful. The power output of a flash is generally given as its guide number. The guide number, when divided by the f-number of the aperture setting, gives you the distance the light will travel at iso 100. But a lot of companies can cheat this by setting the flash to its highest zoom rating (more below) to make the number look higher. If you're going to be comparing apples to apples, make sure the zoom setting is the same across the flashes, or look at a review where the power output was actually measured with a light meter (e.g., this one on

The higher the power output, the bigger and more expensive the flash will be, but the more useful it becomes. Think of the power output as you would the maximum aperture on a lens.


Tilt and swivel allow you to position the head of the flash in a different orientation to the body. This becomes important for two reasons. When you use a flash on-camera, the go-to method for diffusing the light and making flash look pleasing is bouncing, where you aim the flash head at a reflective surface (usually a ceiling or wall). To be able to choose the direction of the light, you have to choose your bounce surface, and tilt and swivel determine your freedom to do that. Full 360° swivel gives you full freedom; 270° swivel removes 25% of your choices, and depending on how you rotate into portrait orientation, could remove 50%.

The second reason swivel freedom is important is if you're going to use an optical triggering system for using the flash off-camera. The sensor for this is typically in the body, and it needs to be pointed towards your optical master unit (e.g., the camera's pop-up flash or another light in the setup). If you have full swivel, the head can always point where you want the light to go while the body faces the camera.


Zooming on the flash head simply means that the flash tube in the head can move back and forth so that the spread of the light will more closely match the field-of-view angle of the lens you're using. You can use this feature off-camera to adjust how focused the beam is. The longer the zoom setting, the farther back in the head the light sits, the more focused the beam is, and the farther the light can travel.

TTL, M, and Auto modes

TTL stands for "through-the-lens" metering. It's an automated way to set the flash's power output. The camera tells tells the flash to send out a "pre-burst" flash of a known brightness level; meters it, and then adjusts the flash's power based on the results and the flash's power limits. Just like using any metering-based auto mode on the camera body, it adjusts quickly and easily, but may not be perfect and you might have to dial in compensation. You typically use it for run'n'gun event situations where you move through different lighting situations without time to adjust.

Be aware that film-era speedlights typically do not work in TTL with digital SLRs; the algorithms based on film reflectance to calculate proper flash exposure had to be modified for digital sensors. Digital-era OEM flashes can typically switch between film and digital TTL, but film era flashes, obviously, only work accurately for film.

M, like M on the camera, is full manual mode, where you can directly set the flash's power output as a ratio of the full power. The ratios are most commonly given in full stops (1, 1/2, 1/4, 1/8, etc. etc). And, just like using M on a camera, you use this for consistency from shot to shot and precision of control. It's most commonly used for studio situations where the lighting is controlled and unlikely to change rapidly without a chance for retakes. The wider the range of settings, the more control you have over the flash's output. 1/128 power, for example, can be very useful when working close in for macro or product work because of the inverse square law. M also becomes very important as the only way to control the flash's power output if you're using manual-only radio triggers for off-camera flash.

Auto is a different way to automate the flash's light/power output that doesn't require TTL communication with the camera, so can be found in older film-era and manual-only 3rd party flashes. A sensor on the flash (typically an autothyristor) is used to cut off the flash output at the appropriate time. You may have to input the aperture and iso settings used for the shot into the flash.

High-Speed Sync/Focal Plane Flash

Most system cameras use focal plane shutters these days. Your shutter speed is determined by how big the gap between the 1st and 2nd shutters are as they sweep across the sensor. At a certain shutter speed, that gap becomes smaller than the sensor itself. And because most flash bursts are going to be much faster than the shutter speed, if you go higher than that shutter speed, the curtains will cover parts of the sensor when the flash goes off, and you'll get black bars at the top and/or bottom of the frame. That magic shutter speed is body-dependent and is known as the "maximum sync speed" of the camera (typically around 1/200s for most dSLRs).

High speed sync (HSS or FP) is a way to overcome this limitation, but requires proprietary brand-specific communication between the flash and camera hotshoe, so 3rd party flashes are less likely to include it. In addition, entry-level Nikon bodies cannot do it. But the camera tells the flash to act like a continuous light source for the duration of the exposure, and the flash pulses to do so. The cost of the rapid pulsing, however, is a power loss of roughly two stops.

This is most typically used when you want to use fill flash for portrait work with a shallow depth of field in bright sunlight. In sunny-16 conditions, (iso 100, f/16, 1/100s), if you want to use a larger aperture, you have to increase your shutter speed. You could also use ND filters instead of HSS.

Off-Camera Triggering

The Strobist way of studio-style lighting with off-camera speedlights has become widespread, and you may be bitten by the bug. So, consider how many ways a flash lets you pop it when it's not on the hotshoe. The following features to look at are:

  • PC (Protor-Compur) sync port [typically only on higher-end flashes]
  • 1/8" (or 3.5mm) minijack sync port--like headphone jacks [3rd party only]
  • proprietary wireless (TTL) slave mode [Canon: wireless eTTL; Nikon: CLS]
  • "dumb" optical slave mode [Nikon: SU-4 mode; 3rd party "optical slave" modes]
  • built-in radio receiver [TTL w/Canon RT gear; manual-only with most 3rd party flashes]

The main distinctions here are how many signals are communicated from the camera to the flash (full hotshoe protocol or only the sync signal), and the mechanism by which they're communicated (radio, optical, cable).

For example PC and 1/8" jacks can be used with cables for manual-only triggering; or as a way to connect a manual radio trigger without using the hotshoe. The camera hotshoe and the flash's hotfoot can be tethered with a TTL cable for full communication.

When a triggering system is labeled as "TTL" that doesn't just mean you can perform TTL over the system, but that the whole hotshoe signaling protocol can be used. Theses systems allow you to remote control the flash and do anything with it remotely that can be done on the hotshoe (or at least most of it). Triggering systems that are "manual only" can only tell the flash to fire in sync with the exposure being made.

Triggering systems that are "optical" use light. Proprietary TTL optical systems translate the hotshoe protocol into light signals; while "dumb" systems use a sensor on the flash to sense when another flash has gone off as the time to fire. Optical systems are limited by "line of sight" (the sensor has to "see" the master signal), and ambient lighting conditions (the more light there is, the more the signal can be overwhelmed).

Radio triggering is unhampered by line-of-sight or ambient lighting conditions and have better range and reliability, but is rarely built into a flash (though that seems to be changing).

Battery Pack Port

Speedlights have only four AAs in them. In heavy use, those AA batteries may have to be replaced multiple times, so an external battery pack can come in useful. Also, a larger power source can reduce recycle time (but bring a higher risk of overheating).

3rd-party vs. OEM

You have your eye on that super-cheap Yongnuo, right? While it might make sense, just understand what you're giving up by going with the lower pricetag. Build quality, copy consistency, and component quality are likely to be more variable than with OEM. Support, warranty, and resale value are likely to be of much lower quality. And future/backwards compatibility is likely to be lower.

Most 3rd party manufacturers reverse-engineer the hotshoe communication protocol, and as a result, while the flash may work very well with a current camera model, it may not work as well with a future or older model or, say, a film body with what is ostensibly the same flash protocol. To ease this issue, some 3rd party flashes can upgrade their firmware (Metz, Nissin). Some (Yongnuo) cannot.

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There is no better resource for flashes than Strobist. The article Two Things Your Flash Needs to Have should explain what you need. But simply put you need a flash that can be externally triggered and manually controlled.

The chinese made Yongnuo 460 is dirt cheap at about INR 2000 (USD 40) and does the job pretty well. The build quality is average, but manual controls and a built-in optical slave make it a steal.

Did I mention it has a built-in diffuser, bounce card and comes with a stand and soft pouch.

enter image description here

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I think Strobist is a great resource, but it is definitely slanted towards a very particular philosophy, which is what drives those two specific requirements. I don't think it's the only valid approach to flash, though, and other approaches have different "must have" requirements. – mattdm Dec 5 '11 at 18:48
I realized that as soon as I finished writing this post, since the question didn't really seem to be about off camera flash. But even with those requirements kept aside, I believe that the the YN 460 is a heck of a deal for a beginner before getting a 'pro-level' and much more expensive speedlight. – Abhimanyu Dec 5 '11 at 19:08
@mattdm is right here. Specifically for a beginner, TTL may be much more useful than a manually controllable flash, especially when you can control Flash Exposure Compensation from the camera menus, to offset the fact that you don't have manual control. In off-camera mode, using ND gels is an effective way to add "manual exposure control" to a non-manual flash. – ysap Dec 5 '11 at 22:11

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