The unleashed flash: working freely in space
If you look at a photographer with a flash from the outside, it often looks like this: Camera, flash on top – and bang, done. And sure, it works. But it’s also a bit like cooking with just one spice.
If you want to consciously design your light, you need freedom. And that’s exactly what you get with the “unleashed flash”.
What does “unleashed” flash mean?
It’s simple: the flash is no longer mounted directly on the camera, but somewhere in the room or you hold it in your hand (a meter away from the camera can make a big difference). It is triggered via radio, infrared or cable – and you are free to decide where it is positioned, in which direction it points and how far away it is from the subject.
Suddenly you have the light in your hand – in the truest sense of the word.
How does unleashed lightning ignite?
There are several ways to do this:
- Cable (e.g. PC-Sync or TTL cable): Reliable, but you’re always bound to a certain range – and you can stumble.
- Radio: The standard today. A transmitter sits on the camera, the flash has a receiver (often built-in). Advantage: Works over several meters, even through walls. Reliable, flexible.
- Infrared (e.g. with many system flashes): Only works on visual contact. Rather unreliable in the sun or with reflections.
Why unleashed? The advantages at a glance
- Light from the side, from above, from behind – however you like!
- More control over shadows: You can model specifically instead of shining flat from the front.
- More natural results: Lateral light creates depth – almost like window light.
- Combine several flashes: You can work with main light, fill light and backlighting – in other words, professional lighting without entering a studio.
Consciously design lighting: Position, distance, angle
This is where the play with light really begins:
- Lateral light (approx. 45°) adds volume to the face. You model the shapes, creating a sculptural look.
- Light from above looks natural, like the sun or a ceiling lamp – but can also cause unsightly dark circles if it’s too harsh.
- Backlight / rim light makes the subject stand out from the background – great for drama or fashion.
And very importantly:
- The closer the flash is to the subject, the softer (because the ratio is larger).
- The further away, the harder (because smaller relative).
You can try this out with simple means: A flash on a tripod, a simple translucent umbrella – and you almost have studio conditions.
Simple setups to try out
1st portrait with a flash
- An unleashed flash to the side (approx. 45°), slightly raised.
- White reflector on the other side to brighten up shadows.
- Optional: Bouncer or softbox to soften the light.
Result: Soft, natural-looking light with depth.
2. product photo “on location”
- One flash from behind at the top (backlight), second from the front slightly raised.
- White background (paper, wall, fabric).
- Rotate the object slightly to control highlights.
Result: Clearly contoured product image with dimension – also feasible on the move.
3. editorial style with two flashes
- Flash 1 as main light (from the front side, via softbox or umbrella).
- Blitz 2 as a “kicker” from behind, set a little harder, possibly with CTO foil for a warm accent.
- Deliberately dark surroundings (fast shutter speed, low ISO).
Result: Dramatic, stylized look – ideal for fashion, art or music portraits.
Conclusion: Unleash your light – and your possibilities
As soon as you “free” your flash from the camera, your entire approach changes. You no longer think: “How can I get the subject bright enough?”, but instead:
“What do I want my light to look like?”
That is the difference between documenting and designing.
