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Light in depth3 min read

LESSON 63

Reflectors and diffusion

Bend and soften light without buying lamps.

IN THIS LESSON

  1. Two kinds of reflector
  2. Making a light bigger
  3. Diffusion
  4. In practice: colours and positions
  5. In practice: cheap kit that works

Two kinds of reflector

A reflector is any surface used to redirect light toward a subject. The source divides them into two groups. Lamp reflectors fit around a bulb or flash tube and shape its light: a shallow spherical bowl gives a broad spread, a parabolic one a tighter beam. Their reflector factor compares the light with and without the reflector; a matte one gives around 2, a polished metal one up to 6. Board reflectors stand apart from the light, and are also called flats or bounce boards. They reflect much less, and are mostly used to control contrast, taking the place of a fill light.

Making a light bigger

The size of a light compared with the subject decides how soft its shadows are; lesson 07 explains why. A reflector placed close to a lamp makes the source effectively larger. The umbrella is the classic example: the lamp faces away from the subject into a white, silver or gold umbrella, and only reflected light reaches the scene, broad and soft. The source credits its invention to George Larson. Walls and ceilings do the same on a bigger scale, and outdoors a sunlit wall can lift the shadows on a face. Small mirrors and white cards are used on tabletop sets to add highlights to glass and jewellery.

Diffusion

A diffuser scatters light as it passes through, so it leaves softer. Common materials include translucent cloth, opal or frosted plastic, and before plastics, silk. In front of a flash or studio light it softens the beam; in film and theatre it is often called diffusion gel. Very large frames of diffusion stretched over a scene are called butterflies or overheads. The source gives standard sizes of 6 by 6, 8 by 8, 12 by 12 and 20 by 20 feet, used to keep shadows the same through a day of filming or to make sun look like cloud. Black flags and nets on the same frames block or dim the light instead.

In practice: colours and positions

This section is working practice. White reflectors give soft, neutral fill. Silver gives brighter, harder fill and can look cold or harsh on skin. Gold warms skin, which suits some sunsets and looks false in other light. Black absorbs light and deepens a shadow, which is often what a flat portrait needs. Put a reflector below and in front of a face to lift shadows under the eyes, or to the side opposite the light to soften the shadow side. Watch the eyes: a reflector should add a small catchlight, not make the person squint.

In practice: cheap kit that works

Also practice. A sheet of white foam board, a white bedsheet and a roll of baking paper solve most problems. Tape baking paper over a window for a large soft source, or hang a thin white curtain. Hold a folding reflector at an angle and walk it closer or further until the shadows look right. A friend makes the best stand. Outdoors, a diffuser held between the sun and a face turns harsh midday light into open shade, though you will then need to expose for the softer light.

Try it today

  1. 01Seat a friend by a window, side-on to the light, and shoot without any help.
  2. 02Add a white card on the shadow side and move it until the shadows soften.
  3. 03Swap the white card for foil, then for black card, and compare.
  4. 04Outdoors at midday, hold a thin white sheet between the sun and the face.
  5. 05Tape baking paper over a sunny window and photograph an object in the result.