Hello, we are back for another week of The Wedding Frame, and I was looking back and my most downloaded episode was the gear episode. So you know what? We're going to go back to it, except this time we're talking specifically about flash, and even more specifically about on camera flash. I know there's a whole debate about whether you do off camera lighting or not, but just so you all know:
I only use the speed light on my camera for wedding days. And I want to get into the reasons why I do that and what the benefits would be of just using on camera flash.
And don’t get me wrong, off camera lighting is beautiful. It has a huge place in editorial and commercial work. It allows photographers to shape light instead of simply responding to it. But on camera flash has just as much professional history behind it. If you look at the world of documentary photography, some of the most iconic images ever made were created with direct flash mounted right on the camera.
Publications like Life Magazine built entire visual legacies on work that was fast, mobile, and responsive. The goal was not to construct reality, but to move through it without interrupting it. Wedding days are a lot closer to real life environments than they are to controlled sets.
Everything moves quickly. Things shift constantly. Moments are full of emotion, and it is sometimes hard to wait for a technical setup because then you are missing those moments.
So for me, choosing to keep the flash just on my camera allows me to stay in the rhythm of the day instead of stepping outside of it to build something before I shoot. I am not stopping to place a light or reposition anything. I am already ready. And that matters so much when the goal is not just beautiful lighting, but also capturing moments as they are happening.
I think as a documentary photographer, having lights can make the couple and the guests more aware that there is a light pointing at them. Even during a dark reception, I will use ambient light and have my flash on a manual setting so it is not as strong.
You know what? I actually try to use my flash as little as possible and rely on ambient light as much as I can, even if that means having my ISO higher than the norm. We have tools in Lightroom now that can denoise beautifully. As a documentary photographer, I would prefer capturing moments when people are not aware that I am capturing them, because the moment they see a camera or a flash go off in front of them, it can ruin the moment and they turn to pose.
If you are an editorial wedding photographer, having that flash presence is fine because it becomes like a mini photo shoot, especially during the couple’s portraits. So I want to preface all of this by saying this is the way I do it because my style is documentary.
Let’s get into more of the details and positives.
I love ambient light and want to preserve the atmosphere of a space for as long as I can. The glow of candles sets such a romantic setting. It would not feel the same with a lot of light coming in. Flash comes in when it is needed to support the scene, not replace it. When I bring it in, it is always about enhancing what is already there.
That approach shapes everything else I am about to talk about. The way I bounce the light, the way I use direct flash for editorial moments, because I do mix in those editorial moments, especially if a couple tells me they like that direct flash look for receptions. That is something I do alongside capturing ambient light images.
Once I decide I need flash, I usually bounce it off the ceiling or a wall, mostly the ceiling, especially if it is not too high or dark. It gives a subtle, even light and allows you to see the whole scene while mixing with ambient light.
The cool thing about bouncing is how flexible it is. Small changes in angle can completely change how the light falls. If you tilt it slightly up or behind you, faces are illuminated differently. It is something you have to play with.
I care about how faces are illuminated more than anything else. I want my couples and their guests to look their best, which means avoiding harsh shadows. When I get the angle right and the light feels soft and even, I am happy.
The flash I use is a Godox V1 Pro. I love it. I use it with the round diffuser it comes with, and it sits right on my camera.
Once I get a feel for the space, I start thinking about how to control the flash so it works with the environment. That is where the manual versus ETTL conversation comes in.
ETTL is the default, where the camera decides the flash power. That is great for weddings because distance is always changing. I do use manual at times, usually at the weakest setting, and rely on existing light so I can control changes with ISO instead of flash power.
When I am working fast, like on a dance floor, ETTL helps me stay reactive without constant adjustments.
Another technique I love for receptions is dragging the shutter. After I capture the important moments and standard dancing, I start playing with it.
It captures movement and energy while keeping the subject sharp. You get that club style effect with light trails. I love giving couples variety.
I also want to mention that while I use many techniques, I do have second shooters who use off camera lighting. I am happy they bring lights if they want to because it creates a different look. While I am capturing balanced or direct flash images, they are capturing something else entirely. Couples usually appreciate the variety.
For dragging the shutter, I typically use a shutter speed around 1/10th to 1/15th, an aperture around f4 to f5, and an ISO around 400 since the flash is strong. You need to be close enough for the flash to freeze your subject while the surrounding movement creates those light streaks.
Outdoor receptions are different because you cannot bounce flash. Often there are only string lights, so I raise my ISO. My mirrorless Canon cameras, like the R6 and R5, perform well in low light, which helps.
Sometimes it is so dark that the camera struggles to track a subject. Raising ISO helps bring in enough ambient light for better focus.
I often use direct flash outdoors. It does darken the environment, but it helps maintain natural skin tones, especially when DJ lights cast strong colors.
I know this is a lot of information, but I want to show the range of possibilities.
Before we close, I want to touch on something important. Some photographers feel they must adopt off camera flash because the industry rewards technical complexity. But couples do not describe their favorite images in technical terms.
Time and time again, emotional truth matters more. Some couples prefer a polished editorial look, but most talk about how an image made them feel.
It is not about one perfect method. I hope this gave you insight into how I work with flash on a wedding day.
If you want to learn off camera lighting, that is another helpful tool. But do not feel less than if you do not use it. There is room for all of us, including those who lean toward natural light.
Thank you so much for listening. I am excited to talk to you again next week. Bye.
