DirtFarmer Loc: Escaped from the NYC area, back to MA

Which one are you referring to?



The top left examples are not providing much of an increase in the size of the source light so the shadow edges will not be significantly softened. The light is then diffused so it covers a wider area, potentially filling in the shadows from light bounced from things outside the field of view. I should note that my speedlights (Nikon SB800 or SB910) have built in focusing and they interact with the camera to change the area illuminated as you change the focal length. Diffusers will reduce the light on the subject so the flash will have to work harder. Only a problem if you are taking shots at a rapid pace.

These diffusers separate the light source from the camera a bit more, which will reduce redeye effects. But the ceiling is a LOT further away from the camera (usually).

If there is a viable ceiling, that is in my opinion the best thing to use. The only limitation is if the ceiling is not close to white. Strong colors will give you problems with white balance. Pastel colors are probably something you can mitigate in post.

bobmcculloch Loc: NYC, NY

I believe mine is the top left, has windows in the top that can be opened to let more light hit the ceiling or closed if desired, IMHO much better than direct flash and you can walkaround and shoot.
BTW I no longer do weddings/events even upon request.

DirtFarmer Loc: Escaped from the NYC area, back to MA

Sounds like the flexibility would be useful and throwing some light forward will give catchlights in the eyes when you use it on ceiling bounce. And professional looking is important if you're a professional.

I haven't been the primary at a wedding for about 55 years now. But I take my camera to weddings of friends and family.

skatz

Years (decades) ago I had a "potato masher" flash mounted on the side of the camera. The flash head would revolve 180° leaving the auto sensor facing forward. I made a bracket out of a coat hanger which extended back over my shoulder about 12" and supported a 15" x 24" piece of white foam-core board. The foam-core was scored so 2 flaps could be angled forward creating a curved reflector. It looked stupid but made a huge difference in the softness of the light/shadows because the ratio of the direct flash source area to the reflector area was significant. Not as much as reflecting off a ceiling or wall but quicker, more consistent exposures and color balance, and cheap. Your sheet of card stock reminds me of that - not ideal but for the cost, a great way to improve the light quality of the flash.

DirtFarmer Loc: Escaped from the NYC area, back to MA

So maybe an assistant carrying a sheet of foamcore behind you? Might look more professional if that's important.

For that matter, they do make foldable reflectors that fold down to a reasonable size but pop up when you need them.

OldCADuser Loc: Irvine, CA

Here's the set-up I used with my DSLR's (and my SLR's before that). Note that the plastic reflector was held-on with Velcro. I've had that Minolta flash unit for better than 20 years, back when my main camera was a Minolta X-700. One of the reasons that I went with Sony when I decided to get a 'professional' digital camera was because some of my Minolta accessories were compatible (Sony bought the camera business from Konica Minolta in 2006), including that nice flash unit, the remote shutter release (I had both a short and long version) and few other things like the right-angle eyepiece, etc. Oh, and my camera strap

Unfortunately, the Minolta flash mount was unique to Minolta and the early Sony DSLR's, and when Sony released their first mirrorless cameras, they opted for the industry standard flash mount and interface. They also switched to a Mini-USB interface for the remote shutter release, so that was the end of the Minolta compatibly.

Flash diffuser mounted on a Minolta flash unit on a Sony A65 DSLR - March 2024 - Sony a6500, 10-18mm

OldCADuser Loc: Irvine, CA

Here's that same set-up with the normal diffuser that came with the flash. Also, you'll notice, that since this unit was from the film era, it included color filters for when shooting B&W film.

Original flash diffuser on the Minolta flash unit, mounted on the Sony A65 DSLR - March 2024 - Sony a6500, 10-18mm


And the extra diffusers, including ones for when shooting B&W film - March 2024 - Sony a6500, 10-18mm

chfrus

I use toilet paper works well.

BebuLamar

Mine has it and with the diffuser. Doesn't really work as well as if I have a low enough ceiling to bounce or better yet a wall behind my back to bounce.

(Download)

Ron SS Loc: Silver Spring, MD

I have used a similar white card rubber banded on my electronic flash (TTL). Key consideration is size of flash bounce or diffuser relative to subject at distance. Larger ratio softens image, less wrinkles showing.
I do note the image shown has flash wide-angle pull-out modifier extended. I advise not doing that and have card (and flash unit) tilted down slightly. Significant if shooting people (small close group).

Alternative: I use a 'Rogue' flash modifier and usually a 'Stroboframe' bracket. The bracket allows me to switch from horizontal to vertical format and keep the flash lighting above camera lens.
The bracket also elevates the flash, greatly reducing red eye, although not for distance shots.

Spirit Vision Photography Loc: Behind a Camera.

Love my Flip-It’s.