Or: Why a flash doesn’t just “light up”
Imagine you get two photos of the same person.
Both well exposed, sharp, same background – but one looks soft and flattering, the other hard and direct.
The difference? Not the “how much”, but the “how” of the light.
In photography, it’s not just that you have light, but the quality of it. And you can influence that – especially with flash.
Direct vs. indirect – a small difference, big impact
A direct flash is like a flashlight in the face:
Hard, bright, makes small pupils, hard shadows, shiny skin. It’s immediately recognizable: it was flashed.
An indirect flash, on the other hand – reflected via the ceiling or a wall, for example – is like daylight through a window with a curtain. Soft, flat, flattering. Almost invisible.
The great thing is that with a little technology, you can shape your flash just the way you want.
Bouncing – sending light around the corner
A simple trick: Let the light come back from something else.
- Ceiling: Ideal if it is white and not too high → The light comes from above, widely diffused – like soft room light.
- Wall: For lateral illumination – very natural, especially for portraits.
- Reflector: More controlled than wall/ceiling, mobile use.
Tip: Do not flash against colored walls (e.g. green or red) – otherwise you will get color casts.
What determines the quality of light?
1. the size of the light source
The most important rule:
The larger the light source (in relation to the subject), the softer the light.
A softbox directly in front of the face = soft
A small flash from a distance of 3 m = hard
This is because a larger surface illuminates more angles – blurring shadow edges.
2. the shape of the light source
The shape influences how light is reflected:
- Round: classic eye reflection, often natural-looking
- Rectangular: reminiscent of windows – ideal for lifestyle or fashion looks
- Narrow / stripe shape: emphasizes lines, suitable for body contours, product photography
You can often see this in the reflections of glasses or catchlights in the eyes – there you can often “guess the light shaper”.
3. the distance to the subject
A simple rule of thumb here too:
The further away the light source, the smaller it appears → the harder the light becomes.
A large screen only has a soft effect if it is close enough. Otherwise it is just a small point in the room.
Example: A beauty dish from a distance of 2 m looks like a small, hard spot of light. From a distance of 50 cm, on the other hand – wonderfully soft with beautiful contrast.
Light shapers – the tool for shaping light
Here is a brief overview:
| Light shaper | Effect |
|---|---|
| Softbox | Soft, controlled, two-dimensional |
| Beauty Dish | Soft, but with contrast – ideal for faces |
| Transmitted light screen | Widely scattered, diffuse, needs space |
| Reflective screen | Harder than transmitted light, more directional |
| Snoot | Spot effect – concentrated light on a small area |
| Grid (honeycomb) | Light is directed without scattering – good for accents |
Imitating natural light – with flash technology
Want to look like you have window light without having any? No problem.
Shooting idea:
- Flash through a white translucent screen
- Position slightly elevated at the side (like sun or window)
- Slightly underexpose the background➤ Looks like a portrait at the window – but is completely artificially created.
Or vice versa:
Surreal lighting effect during the day:
- Flash with narrow reflector or grid
- Clearly underexpose the surroundings (e.g. 1/250 s, aperture 8)
- Flash on person➤ The scene looks like night, although it was bright.
Conclusion: Lighting quality is design
Flash is not an on-off switch. It’s a malleable tool that you can customize – in the direction of soft or hard, flat or plastic, neutral or dramatic.
Once you understand how light size, shape and distance interact, you are in control.
