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The 8 Best DSLR Speedlight Flashes

We spent 46 hours on research, videography, and editing, to review the top choices for this wiki. Creating a great photo is all about lighting. These DSLR speedlight flashes are quick and easy to setup, have a better strength and range than a built-in flash, and won’t drain your camera’s battery. Properly used, they’ll let any photographer capture better images, and we’ve ranked them here by power, versatility, and durability. When users buy our independently chosen editorial picks, we may earn commissions to support our work.

8. Meike Mk-910

Nearly identical to the Nikon flash of the same number, the Meike Mk-910 offers almost the same capabilities and overall performance as the more expensive brand name model on which it’s based, though the readout on the rear panel is a little more confusing than Nikon’s.


  • Temperature gauge
  • Infrared autofocus assist
  • Fragile build quality















Brand Meike
Model II-41JY-WMS5
Weight 1.4 pounds
Rating 4.2 / 5.0

7. Neewer VK750 II TTL

For its price, the Neewer VK750 II TTL puts out a lot of power, reaching up to 190 ft. when fully zoomed in at ISO 100. It works electronically when locked into the camera’s hot shoe, as well as through a more traditional PC sync port.


  • Charging socket for a power pack
  • Drawstring carrying bag
  • Compatible only with nikons















Brand Neewer
Model 10070994
Weight 1.1 pounds
Rating 3.5 / 5.0

6. Nikon SB-300 AF

The Nikon SB-300 AF exists to serve the needs of photographers who use more of the automatic modes on their DSLRs, but who want to gain flexibility and image quality that the built-in pop-up flash can’t provide. Its controls are no more complicated than on and off.


  • Tilts up to 120 degrees
  • Simple operation
  • Limited feature set















Brand Nikon
Model SB-300
Weight 9.6 ounces
Rating 4.2 / 5.0

5. Nikon SB-700 AF

The Nikon SB-700 AF takes its mode selection and throw widths out of the menu bank and places them on physical sliders on either side of the body. With a little sense memory, you can make adjustments to your strobe without ever taking your eye out of the viewfinder.


  • Fresnel front plate
  • 360-degree rotation
  • No pc sync port















Brand Nikon
Model 4808
Weight 1.9 pounds
Rating 4.0 / 5.0

4. Canon 430EX III

For shooters looking to maintain strong power in a smaller package, the Canon 430EX III delivers a range extending up to 105 mm, despite its slight stature. Its built-in catch-light panel intelligently brightens up dim scenes and doesn’t overexpose the image.


  • Multi-dial for menu diving
  • Works without a line of sight
  • Heats up quickly















Brand Canon
Model 0585C006
Weight 1.7 pounds
Rating 4.2 / 5.0

3. Nikon SB-5000

After taking a baby step between the SB-900 and the SB-910, the Nikon SB-5000 came along to take the company’s flash options into the 21st century. Coupled with the company’s WR-R10 wireless adapter, your camera can command up to 18 strobes at once.


  • Recycles in under two seconds
  • Tilts from -7 to 90 degrees
  • Total radio control















Brand Nikon
Model 4815
Weight 1.4 pounds
Rating 4.8 / 5.0

2. Altura Photo AP-N1001

For a relatively inexpensive option, the Altura Photo AP-N1001 provides a professional experience, from its superior build quality through to its I-TTL compatibility and impressively fast recycle rate. It’s meant to sit atop Nikon cameras.


  • Includes a tripod mount
  • Flip-down wide-angle diffuser
  • 24-105 millimeter zoom range















Brand Altura Photo
Model XI0002
Weight 16 ounces
Rating 4.9 / 5.0

1. Canon 600EX II-RT

Undoubtedly their flagship model, the Canon 600EX II-RT allows you to program up to 21 different functions for use in familiar shooting environments. Its heat-resistant materials can withstand a high rate of continuous flashing.


  • Dot matrix lcd panel
  • 20 to 200 mm coverage range
  • Full wireless support















Brand Canon
Model 1177C002
Weight 2 pounds
Rating 4.6 / 5.0

Don’t Fear The Flash

A lot of photographers cut their teeth shooting in natural light. If you’re fortunate enough to have a well-lit interior or a generous amount of sun, it’s a lot easier to take stunning pictures. In a poorly lit environment, however, or anytime after the sun has set, you’re going to need some help getting the best possible exposure. Even in well-lit areas, the addition of a flash can give you greater control over the appearance of your subject, from the contours of their face to the tone of their skin.

More often than not, however, shooters will shy away from working with a flash, mainly because the flash photography they’ve taken in the past has turned out so poorly. Flashes built into cameras and cell phones often cause overexposed subjects and underexposed backgrounds, resulting in images that look significantly unprofessional.

If you want to take a high-quality flash photo without spending a few years in art school, you can follow a few simple steps that will soon get you accustomed to the settings that work best in any given situation.

The first thing you need to do is expose for your background. That means finding a good exposure without the flash. If you rely solely on your speedlight to illuminate an area, you’re going to get too many shadows and too much falloff, and your shots will look amateurish. Once you’ve exposed for the background, you can integrate the flash at its least powerful settings until you see your subjects gently popping against a well-exposed background. Distance from your subject is the next thing you’ll need to take into account. The farther away a light source is from its subject, the harsher that light will look. You can adjust for this by increasing the intensity of the light, but if a stronger flash makes your subjects look overexposed, then you’ll have to stop down on one or more of your settings, which will ruin that background exposure we had just perfected. The key is to stay close to your subject without overpowering the image with light.

The best ways to reduce the intensity of your flash when its softest settings are still too harsh are to bounce it off of another surface or to diffuse it somehow. Many of the flashes on our list come with built-in bounce cards and detachable bulb diffusers, but there are excellent options on the market to take this effort even further. Your best friend in these situations is a low, white ceiling. If you invest in a speedlight that can have its angle adjusted, then you can point it upward and bounce your flash off of the top of the room, which makes for soft, agreeable light and the creamiest skin tones.

How To Choose The Best Speedlight For You

If you want to add a speedlight to your DSLR kit, you should know exactly what you want it to be able to do, as some options are significantly more limited than others. This is one of those categories where spending a little more on features you might not need right now is probably a smart idea, as it’s better to have those features to grow into than to be stuck trading in your old speedlight for something better.

Adjustability is the name of the game here, and that applies both to the physical build of the speedlight and to the direction and power of its flash. The best speedlights in the business allow you to make minute changes to the width of their beams, to the reach of the light they put out, and to the direction in which that light travels, even before you physically move the head of the unit. You’ll tend to pay more money for more adjustable features, but many are worth it.

If you know you only intend to use the one light, and that you either have a dedicated set of strobes for studio work or you have no intention of ever lighting from multiple angles, than you probably don’t need advanced master/slave radio connections. If you want to work events like weddings or have your gear double as a studio kit, then you’ll want to make sure that you can pair and command several flashes from one master unit.

Less expensive options are by no means technically inferior, as a talented and practiced photographer can get some great shots with them, but more features will actually make your job easier in the long run.

If The Shoe Is Hot, It Might Not Fit

Most speedlights communicate with the cameras on which they’re mounted by means of something called a hot shoe. This is essentially a contact point between the computing elements of each unit, as well as a means to attach the flash to the camera physically. A hot shoe has a number of pins that must line up in order for the devices to talk to one another.

Nikon has its own hot shoe design, as does Canon and pretty much every brand of camera on the market. Each company intends to protect its interests by ensuring that you buy their brand of device, but they also need to be compatible with third-party implements they don’t make that rely on the shoe itself, and not necessarily its pins. As a result, if you try to put a Nikon branded flash on a Canon camera, the physical mount will still fit. That can be awfully misleading, as the pins will not line up and the units will not communicate.

When you’re shopping for a speedlight for your DSLR, you’ll find options made by these major brands, as well as those developed by third-party manufacturers. More often than not, these third-party units offer you a lot of similar features as the branded units, but they might not have the same durability or they might suffer from overheating more easily.

The important thing to remember is that third-party flashes can be outfitted with a hot shoe connection for several brands, depending on which you select when you make your purchase, so make sure you’re getting the connection that will fit your camera.