TCampbell
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The guide number (which is listed in either meters or feet) is not an indication of the "power" of the light (that's usually in watt/seconds)... rather it's the distance that the flash can adequately illuminate a subject with the assumption that the camera is using ISO 100 an aperture of f/1.0.
Realistically nobody makes an f/1.0 lens (they do... they're REALLY hard to find. Canon used to make a 50mm f/1.0 lens but hasn't made that thing in about 15 years I'm guessing.)
So why f/1.0? Because it makes the math easy.
You take the guide number and divide it by the f-stop you will use in the shot.
e.g. if you plan to shoot at ISO 100 and f/5.6 then divide the guide number by 5.6.
58 meters ÷ 5.6 = 10.4 meters (I've rounded that... the real value has a lot of digits after the decimal).
10.4 meters, when converted to feet, is 34 feet.
But at this point we've just converted the base f-stop (f/1.0) to our actual f-stop (in our example, f/5.6) with a simple division problem. But we haven't converted the ISO. Each time you double the ISO by 1 stop, you can increase the distance the flash will carry by a factor of about 1.4. E.g. if we switch to ISO 200 our 34 feet becomes 34 x 1.4 = 47'. If we go up 2 stops (ISO 400) then we can double our distance to arrive at 68' (when you take the square root of a number... and then you square it... you end up with your original number again. So the √2^2 = 2... hence 2 stops means we get to multiply by 2 instead of the 1.4 we use when it's just 1 stop.)
But remember that the guide number is not an indicator of how bright the flash is... instead it describes how far it will carry.
Imagine if you disassemble a flashlight and take out the light bulb and batteries but leave the reflector housing behind. When you turn on that light bulb, it won't be very bright. It's really the same amount of light leaving the bulb, but the light is scattering in every direction. When you put the bulb in the reflective housing, all the light that would have gone backwards or sideways ends up hitting the reflector and bouncing forward -- all the light is redirected so that it shines in the same direction (more or less) and the bulb "seems" very bright.
Photographic flashes work the same way in that we "modify" the light using various tools... reflectors, diffusers, etc. A high quality parabolic reflector can focus light so well as to send it to astonishing distances. Diffusers can "eat" a lot of light and really shorten the distance. When you "bounce" a flash off a painted white ceiling (which is typically a "flat" white paint... not a "glossy" paint) you lose a lot of light.
Guide numbers around 58 meters are typically of high-end flagship flashes from Canon & Nikon. There are more powerful (and not surprisingly more expensive) flashes. The speedlite type flashes are great because of their portability and while being fairly versatile, there's a reason they still make studio flashes and somewhat portable lighting that aren't really "speedlites".
The question is... what does the flash need to do for you? Speedlites are popular for "event" photography because of their mobility. High end photographers are still running with multiple lights (and assistances are holding these lights on mono-pods poles) so they are still "controlling" the lighting.
If you REALLY want to get correct flash exposures... you may want to invest in an incident light meter which also supports flash exposures. My first meter was a Sekonic L-308s. It's a little over $200, but it can meter "flash" as well as continuous light. When you put it in flash metering mode, it starts monitoring the light but as it knows it's looking for a flash, it looks for a bright spike in the amount of light and registers this as a flash (it is smart enough to know that when using TTL systems that there is likely to be a pre-flash. It's basically looking for that final spike in light and displaying the metered value during the spike.
This means you can put the meter at your subject position, use all the bounces, reflectors, diffusers, or any light modifiers you want, and the meter will tell you how much of your light ACTUALLY ARRIVED at your subject. You can also accurately tell what your modifiers are doing to your light (how much light do I lose because I put my flash into a soft-box instead of firing straight unfiltered light?) Knowing these (these are tests you do in your studio) tells you facts about your gear so that when you're out in the field, you know much light that diffuser eats (because you tested it in your studio (my old boss used to label the modifiers so we knew how much light that "ate" when we used them.))
Realistically nobody makes an f/1.0 lens (they do... they're REALLY hard to find. Canon used to make a 50mm f/1.0 lens but hasn't made that thing in about 15 years I'm guessing.)
So why f/1.0? Because it makes the math easy.
You take the guide number and divide it by the f-stop you will use in the shot.
e.g. if you plan to shoot at ISO 100 and f/5.6 then divide the guide number by 5.6.
58 meters ÷ 5.6 = 10.4 meters (I've rounded that... the real value has a lot of digits after the decimal).
10.4 meters, when converted to feet, is 34 feet.
But at this point we've just converted the base f-stop (f/1.0) to our actual f-stop (in our example, f/5.6) with a simple division problem. But we haven't converted the ISO. Each time you double the ISO by 1 stop, you can increase the distance the flash will carry by a factor of about 1.4. E.g. if we switch to ISO 200 our 34 feet becomes 34 x 1.4 = 47'. If we go up 2 stops (ISO 400) then we can double our distance to arrive at 68' (when you take the square root of a number... and then you square it... you end up with your original number again. So the √2^2 = 2... hence 2 stops means we get to multiply by 2 instead of the 1.4 we use when it's just 1 stop.)
But remember that the guide number is not an indicator of how bright the flash is... instead it describes how far it will carry.
Imagine if you disassemble a flashlight and take out the light bulb and batteries but leave the reflector housing behind. When you turn on that light bulb, it won't be very bright. It's really the same amount of light leaving the bulb, but the light is scattering in every direction. When you put the bulb in the reflective housing, all the light that would have gone backwards or sideways ends up hitting the reflector and bouncing forward -- all the light is redirected so that it shines in the same direction (more or less) and the bulb "seems" very bright.
Photographic flashes work the same way in that we "modify" the light using various tools... reflectors, diffusers, etc. A high quality parabolic reflector can focus light so well as to send it to astonishing distances. Diffusers can "eat" a lot of light and really shorten the distance. When you "bounce" a flash off a painted white ceiling (which is typically a "flat" white paint... not a "glossy" paint) you lose a lot of light.
Guide numbers around 58 meters are typically of high-end flagship flashes from Canon & Nikon. There are more powerful (and not surprisingly more expensive) flashes. The speedlite type flashes are great because of their portability and while being fairly versatile, there's a reason they still make studio flashes and somewhat portable lighting that aren't really "speedlites".
The question is... what does the flash need to do for you? Speedlites are popular for "event" photography because of their mobility. High end photographers are still running with multiple lights (and assistances are holding these lights on mono-pods poles) so they are still "controlling" the lighting.
If you REALLY want to get correct flash exposures... you may want to invest in an incident light meter which also supports flash exposures. My first meter was a Sekonic L-308s. It's a little over $200, but it can meter "flash" as well as continuous light. When you put it in flash metering mode, it starts monitoring the light but as it knows it's looking for a flash, it looks for a bright spike in the amount of light and registers this as a flash (it is smart enough to know that when using TTL systems that there is likely to be a pre-flash. It's basically looking for that final spike in light and displaying the metered value during the spike.
This means you can put the meter at your subject position, use all the bounces, reflectors, diffusers, or any light modifiers you want, and the meter will tell you how much of your light ACTUALLY ARRIVED at your subject. You can also accurately tell what your modifiers are doing to your light (how much light do I lose because I put my flash into a soft-box instead of firing straight unfiltered light?) Knowing these (these are tests you do in your studio) tells you facts about your gear so that when you're out in the field, you know much light that diffuser eats (because you tested it in your studio (my old boss used to label the modifiers so we knew how much light that "ate" when we used them.))
