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For direct flash, at least, all the flashguns on test apart from the Nikon SB-500 have the advantage of an automatic, motorised zoom head.

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All the flashguns on test have bounce and swivel heads, enabling you to fire the flash at a wall or ceiling instead of directly at the subject.

When reflected off a large white surface like a wall, the size of the light source effectively becomes very much bigger.

It’s useful when you want to freeze the action at the end of a long exposure. Auto FPThis is a ‘high speed sync’ flash mode, which enables the flashgun to be used at fast shutter speeds, albeit with a lower maximum flash power being available.6.

Repeating flash Available in some flashguns as well as the pop-up flash of some upmarket D-SLRs, this programmable mode gives a stroboscopic effect during long exposures.7.

Red-eye reduction This uses a burst of pre-flash light to narrow the pupils of your subject, which will reduce or eliminate the red-eye effect that can spoil flashlit portraits.3.

Slow sync flash With slow sync flash, flash is used at a slow shutter speed to give a better balance between flashlit subjects and dark backgrounds, or to freeze movement in low light. Rear-curtain sync Select this option and the flash fires at the end of the exposure instead of the beginning.

The most direct flash route is to slide your flashgun into your camera’s hotshoe, point and shoot.

This can yield decent results, but images tend to have a two-dimensional ‘snapshot’ look.

However, whether you’re shooting against a backdrop of night-time city lights, stepping indoors for some interior shots, or competing with the beaming sun, successful flash photography is all about creating a balance.

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