A reflector is a photographer's best friend when photographing static scenes and objects. In addition, it is relatively inexpensive, and if you make it yourself at home, it is completely free. In essence, a reflector is a simple white (silver, gold) surface that reflects light in the direction you want. This is the cheapest lighting modifier out there. Its main function is additional illumination of the stage.

The possibilities of using a reflector (reflector) are limited only by its size. You can successfully use it when shooting portraits, macro photography, product photography, as well as other genres in which static subjects are removed.

If you are going to shoot architecture and landscape, or a sporting event, as well as reportage photography, then leave the reflector at home. Since in the first case the size of even the largest reflector will be too small to illuminate the scene being shot, and in the second case, you (or your assistant) will be tormented by running after your subjects to try to illuminate them with a reflector.

When should you use a reflector?

A typical situation in which a photographer may need a photo reflector is when a light source (sun, external flash, etc.) illuminates the subject from only one side. By placing a reflector on the opposite side of the light source, we can illuminate the subject with reflected light.

Let's look at another case where a reflector can come to the aid of a photographer. Imagine that you waited for the golden hour, placed the model and took a picture. What's happening? Your model's hair will be beautifully illuminated by the golden rays of the sunset or sunrise, but her face will most likely be in shadow. At such times, a reflector placed in front of your model will be able to illuminate her face well (don't forget to invite a friend who can hold the reflector for such a shoot) with sunlight or light from a flash or other light sources.

Read more about using a reflector to shoot portraits.

So, we figured out how to take pictures with a reflector. Now let's figure out how to choose a reflector.

Reflector for photography: how and which one to choose?

Choosing a reflector among the many options on the market can seem like a daunting task. However, if you start from three key parameters, you can easily choose a reflector that best suits your needs. So, to choose a reflector, you need to decide which three of its parameters best suit your needs. Let's look at them in order.

Reflector size

The dimensions of the reflectors range from 30 centimeters to 2 meters. Here the logic of choice is extremely simple: the larger objects you shoot, the larger reflector you will need to obtain uniform illumination. Small reflectors are able to illuminate only small objects, so they are most often used, for example, when.

Reflector color

At present, it is not practical to buy several photoreflectors of different colors. The most common options for reflectors, in terms of the color of their surface, are 5 in 1 or 7 in 1 reflectors. Such reflectors consist of several parts: a collapsible frame, on which, like a cover, a reflective surface is put on and fastened with a zipper.

The most common and popular color of the reflective surface is white - it does not change the color temperature, provides smooth smoothing of shadows and soft backlighting. That is why a white reflector is the number 1 choice among photographers and amateur photographers.

The silver surface of the reflector is more aggressive and you should think twice before using such a reflector. Why? Because with a silver reflector it is very easy to overexpose the scene (however, if the transition between the illuminated and shadowed area of ​​the object is too pronounced, then a silver reflector can help you more than a white one). As with the white reflector, the silver reflector does not change the color temperature.

A reflector with a golden surface changes the color temperature, so it should be used in situations where the light falling on the subject has a golden hue, otherwise the reflected light will look unnatural.

A reflector with a black surface is not used to reflect light, but, on the contrary, when we need to cast a shadow on the object being photographed.

The blue and green surfaces included in the kit are also not used as reflectors. Basically, they are used as a substrate or background, the so-called chroma key, which will be replaced by another background at the stage of image editing.

Reflector shape

The two main shapes of reflectors offered to photographers are the rectangle or the circle. If you always use an assistant for shooting with a reflector, then the question of the shape of the reflector may be secondary - choose whichever one you like best. By the way, not only the assistant can hold the reflector, but also the model, in cases when you shoot a portrait in which her hands are not visible.

If you are going to use a photo reflector without an assistant, then a rectangular shape will be more preferable, as it is more stable than a round one. However, even the lightest breeze can blow away a rectangular reflector, so the best option would be to use a tripod for a reflector, the types and models of which the modern market offers almost more than the reflectors themselves.

homemade reflector

At the end of the article, we could not help but say a few words about homemade photo reflectors. The most difficult thing in their manufacture is to find a suitable frame. If you found it, consider that most of the work is done. You just have to pull a sheet of foil, tracing paper or any other reflective material onto it and the reflector is ready! For macro photography or product photography, such a homemade reflector can be very useful.

I have seen enough photos on the Internet here and I wanted to say a few words to those who are just starting to use the reflector on the street, in portrait and wedding photography.

I often see how photographers make the same mistake - they shine a reflector on the model from below on the street "to remove shadows under the eyes and chin" - in most cases this fundamental an error stemming from a misunderstanding of what a reflector does and why it is needed.

In video tutorials posted on the Internet, you can often see that shadows are illuminated by a reflector on the street. The photographer from the video tutorial takes it on a bright sunny day, when the model is lit by the sun a little from the side of the face, and removes deep shadows from the opposite side of the face, softening the light pattern. In this case, the outdoor reflector is used as a fill light.

A typical example of such a lesson:




In practice, such lighting is often unpleasant for those who are being photographed - when a bright sun shines in their faces, people squint, it hurts them to look against a bright source. And tears and slits instead of wide-open eyes are not the best option. Understanding this, the photographer intuitively chooses another option - turns the model to the sun sideways or back, or takes it into the shade (under the trees, into the arch) and uses a reflector so that the faces do not fall into the shadow. Here lies the error. Interviewing people filming on the street, I became convinced that many The position of the reflector "from below" is considered (in the wake of the lessons) the only true one in all cases without exception. I have repeatedly seen how newlyweds are illuminated from below at a wedding shoot when their faces are not lit by the sun, or when they turn away from a bright source (when kissing, for example, often the face of one is lit by the sun, and the other is in the shade). In such a situation, it is wrong to use a reflector on the street, illuminating from below.

To make it clear what happens, I found on the Internet a typical example of a lower face illumination:



In the photo, the girl seemed to be leaning over a flashlight shining upwards. Remember, as a child, they loved each other so scare? Due to the lower illumination, even on her young childish face, "bruises" under her eyes crawled out (shadows from the depressions were drawn). In real life, the model's face would have been so illuminated when she leaned over a fire in the forest. Creepy.

In situations where the sun illuminates the model not the face, but its small part, side or back,the reflector needs to shine, as well as the flash,above, placing it at an angle above the model's face. If you need to remove the resulting shadows, then from below you can shineseconda smaller reflector, from a greater distance, or reflecting less light (white reflects less than silver).

Why? Let's take a look at the fundamental point and understand what is what. In the normal situation that I described at the beginning, the sun is the key or key source. It draws light and shadow on the model and is the main light source. In a situation when the sun is behind, or obliquely behind, it is no longer drawing, but backlight, outlining the forms, hair, tearing the model from the background, emphasizing the figure and contours. To bring light back to the model's face, you don't need a fill shadow, but drawing shadow source. And it is his role that the reflector performs.

Therefore, turning the model's face away from the sun, you do this - with a large silver reflector, shine on the model from above, obliquely, and if deep shadows appear under the nose and chin, then shine directly or slightly from below with the second matte white reflector.It is better to place an assistant with the main "drawing" reflector (or a stand if you are shooting alone) as close as possible to the model just outside the frame - this also increases the amount of reflected light coming to the model, and makes the light itself softer and shaded.

If the reflector on the street is used not as a fill or drawing, but as back of the source, which draws a light stripe on the contours of the model (neck, shoulders), emphasizing their shape and separating the model from the background, it is also better to place the reflector above the face, shining on the shoulders and neck a little behind, from above, obliquely.

Using a reflector in the role filling light should be careful - giving too much reflection (this can be seen from the fact that the shadows are completely eaten up) you will get not a fill, but second drawing source, the result will be a nightmare. Again, as a fill reflector, you can place a little below the level of the face of the model, but it is important to carefully control the result and the direction of the light flux, so as not to get a second fill from the fill.

And don't get too carried away with the "warm" gold reflector. Insulating the illuminated, it does not make everything around warmer. If you want to achieve the feeling of a sunny positive day, it is better to shift the white balance of the entire picture or apply the appropriate toning. Aligning a model "insulated" with a gold reflector to normal skin color will lower everything around it into blue and cold, and achieve the opposite effect. In winter, this can be a plus - vibrant skin against the background of an icy blue landscape looks interesting, but in summer the effect can be unpleasant.

In any case, it’s better to practice with reflectors in advance, and not drag them to a responsible shooting after reading the theory and watching Youtube. Now is just a great time for experiments, and autumn is on the way.


P.S. To avoid misunderstandings, a reflector and a diffuser are two different things. Usually kits are sold in which the 5-in-1 disc can act as a white, gold, silver reflector, black flag and white diffuser. The last two functions are used differently.

Do you shoot with a reflector or have you seen successful examples of shots, lessons?

UPD. Posted a post.

The simplest and most common accessory in studio photography is a reflector. The beautiful word "reflector" is translated as a reflector. Accordingly, the essence of his work is in the reflection of light.

A reflector is used to make non-directional light directional. You can understand how reflectors work from these diagrams, which are not yet found on photographic Russian-language resources. Well... It's time to close that gap too.

I will briefly describe all the main options for reflectors so that you can further understand not only photographic reflectors, but also any others. For example, in reflectors for car headlights, lanterns, etc.

The article turned out to be relatively large. reflectors "this is our everything." I would recommend that you take a closer look at the schemes for the exit of light from the reflector and the comments for each reflector. For the reason that the cut-off pattern depends on the distance and size of the reflector, and the diagrams show the principle itself, with which you can understand what to expect from the reflector in general by moving it.

There are no analogues of this article on photographic resources. There are only light spots, but the principle of operation of reflectors is not described anywhere. All information has been gleaned from specialized sources such as the "Carl Zeiss campus", websites of manufacturers of: car headlights; lanterns and spotlights; telescopes, websites of various universities, etc.
I would be glad if experts in the field of designing reflectors and lighting fixtures constructively comment on the article, maybe add or correct something. I would also be grateful for 3D-modeling of light sources, if anyone wants to help to beautifully design an article (3Dmax, Maya, Pro / ENGINEER aka PTC Creo Elements / Pro, etc.). I can even pay a little and cooperate in the future if the result suits.

All reflectors courtesy of the company Falcon Eyes.

What you need to know about reflectors

The nature of the luminous flux when using a reflector depends on:

- its geometric shape and size;
- properties of its surface;
- the location of the lamp;
- distance to the object of illumination.

Reflector schemes



Super-short educational program on geometry

A sphere is a three-dimensional circle. A sphere is the surface of a ball. If we rotate the parabola, we get an elliptical paraboloid. A circle is a special case of an ellipse. All these figures are conic sections.

spherical reflector

Lamp in the center of the reflector.



spherical reflector, lamp in the center



hemisphere

If you place a flash lamp in the center, the light will be reflected back into the lamp. Thus, the luminous flux output is increased by approximately 40%. But since the rays diverge quite widely, it is not very convenient to work with such a reflector in studio shooting.

The lamp is in the focus of the reflector.



spherical reflector, lamp in focus

The sphere on which the focus point of the reflector is located is defined as half the radius of the reflector. In this case, we will get parallel beams at the output, which is good for uniform lighting. Such a reflector is often used in flashlights in conjunction with a Fresnel lens.

The most famous and widely used spherical reflector is the (beauty dish).

There is no guarantee that the lamp in your particular beauty dish is in focus. How many manufacturers - so many shapes, sizes and positions of beauty dishes lamps. You yourself will be able to evaluate the available you knowing the principle.





Also an example of a spherical reflector is the photo umbrella. It is attached to the flash with its stem and gives a soft, but poorly controlled light.



photographic umbrella

The photo umbrella is used because of its compactness and cheapness. And also the umbrella has the ability to move relative to the flash. The inner surface of the umbrella can be silver, gold or matte white. Silver surfaces give a harder light, while matte white surfaces give a softer light.
There are also umbrellas “to the light”, but this is no longer a reflector, which is discussed in this article, but a diffuser, so I will not bring it here.
I will add more about photo umbrellas later, when I take test shots.

Parabolic reflector

This type of reflector can also collect rays and direct them in parallel if the light source is in the focus of the reflector.



parabolic reflector with lamp in focus

If the lamp is brought closer from the focus to the reflector, then the rays will diverge, and if they are moved away from the focus, they will converge.



paraboloid

Examples of using a parabolic reflector in studio equipment.



Let's move on to the most stunning reflector. Not by its characteristics (each tool for its task), but by its size! Here I will call the parabolic reflectors "PARA", by the name of the most popular parabolic reflector - Broncolor PARA. Some photographers use PARA mainly to shock the client and convince them that this is a serious studio.

Areas of use: PARA is widely used in the west for location shooting, i.e. in shooting outdoors. Since it is foldable, despite its large size, it can be quite compactly folded for transportation by car. Its advantage is in soft light and in the fact that the photographer can stand directly between PARA and the model without practically changing the black and white pattern (i.e. it actually blocks out part of the light, but this is not significant due to the size of PARA). PARA come in a variety of manufacturers from cheap (within reason) to very expensive and desirable.

Elliptical reflector



Special types of reflectors

In addition, there are special types of reflectors that are used for specific tasks.



Nozzle conical Falcon Eyes DPSA-CST BW

Application area background nozzle follows from its name, it serves to illuminate the background. Due to its shape, it illuminates the background more softly than, for example, a standard elliptical reflector.



An ideally beautiful frame did not work out (the background is a bit uneven), but the essence is clear. The background nozzle evenly distributes the light flux.

Results:

In this article, I have touched on only a few types of reflectors. It is clear that if we take such a comprehensive concept as a "reflector", then we can write about different types of reflectors for a long time. And in the following articles we will continue to get acquainted with different types of reflectors.

You got acquainted with the basic studio reflectors, the principles of their operation and the classical scope. The scope is actually limited only by your imagination and the capabilities of a particular reflector.

update
Coming to the photo studio, I recommend using the slang names of reflectors. For example, if you need a large parabolic reflector, then it is called PARA (“Pair”, large umbrella).
If you need a small elliptical, then it is called a "standard reflector" or "pot".
A beauty dish is a beauty dish. In English, Beauty Dish (“a plate for beauties” :)).
And also there is a softbox, stripbox, octobox and so on. which will be discussed in the following articles. these are no longer just reflectors, but separate devices.

I will be glad to hear your comments and see examples of your work with various reflectors.

In the near future there will be a new article on studio accessories! Stay in touch:)

And let the girl go... let her swim...



taken using a beauty dish on an overcast day

Of course, the goal of a good photographer is to learn how to work with natural light, however, this is not always possible when shooting on order, because you need not only to choose the time, risking missing the golden hour: sometimes you have to shoot all day and work with the lighting that is available. In such cases, you still want to avoid additional post-processing and get a high-quality three-dimensional photo with rich colors right from the camera.

When it comes to portrait photography, it is not so easy to achieve a good result without the help of image editors and retouching. That's what reflectors come to the rescue for. Reflectors come in many shapes and sizes, and choosing the right reflector usually depends on what you plan to shoot.

For example, street photography or travel photography, it is worth considering purchasing a round reflector with a diameter of about 50 centimeters. Thus, it can be held in one hand while taking off the other. Plus, you don't have to shoot exclusively at home or in the studio.

On the other hand, when shooting weddings, it is best to use a rectangular reflector measuring approximately 120x180 centimeters. This way you will be able to evenly illuminate a group of people.

How to choose a reflector?

To get started with a reflector, you first need to choose the right model. The most versatile is a 5 in 1 round reflector with a diameter of 100-110cm. This diameter is suitable for both single and group portraits. However, keep in mind that it is not easy to hold a reflector of this size, so an assistant or a special holder may be needed when shooting.

As a rule, a 5in1 reflector consists of a folding diffuser and a cover with white, silver, gold and black sides.

At the very beginning of shooting, it is sometimes difficult to understand which color is best to use. And, despite the fact that there are rules governing the most appropriate color for each type of condition, in fact, this can be safely based on your own preferences and goals. Many rules in photography are highly subjective. If you want to get an idea of ​​which color will give the desired result, you can practice in conditions close to those that you expect during the shooting process.

A reflector does exactly what its name suggests - it reflects light. Since the sun moves during the day and the direction of the light changes accordingly, you can first try to place the reflector directly in front of the model, at face level and bend the corners a little (this can be done directly by the model). In this case, you can, for example, smooth out the reflexes from the grass if you are shooting outdoors. And the weak point of this arrangement is that the neck is illuminated, which is not always and not for any model worth highlighting. So move the reflector to find the best angle for your model in the available light.

Reflector features



The white reflector adds a neutral light that hides uneven skin tone and wrinkles. The lower the model holds such a reflector, the more natural the light will be. The light turns out to be coldish, and the whole temperature of the picture turns out like that. In this case, you should be especially wary of overexposure.

The golden reflector gives a warmer light. When using the golden side of the reflector, you should be wary of excessive yellowness of the frame and, as a result, the skin of the model. To avoid this, you need to try not to place the reflector too close to the face. Some experienced photographers limit their use of a golden reflector to backlit sunset portraits. However, with their help, you can achieve warm and not too contrasting shots, an atmosphere of comfort.

The golden reflector successfully highlights pale and, on the contrary, tanned skin tones. Not very well, he will highlight the pinkish skin.

The silver reflector enhances the contrast of the frame, especially when positioned at about the model's waist level. The light is uniform and, as in the case of a white reflector, it hides skin imperfections well. The disadvantage of this reflector is that among the others it is perhaps the most difficult. It cannot be used directly as it catches bright light and literally directs it, so it is important not to dazzle the model.

At the same time, the silver reflector gives the most natural color palette of the image. As a result, it is easiest to use with models that have enough experience. In other cases, you can limit yourself to white.



The black reflector doesn't really reflect at all. On the contrary, it absorbs light. Even professional photographers don't use it very often, but it has its good moments. For example, the Black Reflector can create gorgeous, enhanced shadows that add drama and mood to an image.

In too bright, direct light, the black reflector can be positioned to block out strong light and create shadows on the model's face, adding dimension to the picture.

The diffuser is the most popular side of the reflector in portrait photography. In direct light or indirect lighting (for example, through the foliage of a tree), it is simply irreplaceable. Many parts of the face in this light will be in shadow, and the rest will be overly lit. Usually in this case it is easiest to place the model so that the light is behind the back, but if this is not possible, it is the diffuser that will come to the rescue. It blocks non-solid light and scatters it so that the shadows are softer, and there is no overexposure in the photo.

A reflector is a very necessary item in a portrait photographer's arsenal. It can emphasize the advantages of the model, create the mood of the frame and the character of the character.

Walking through a park or city on a cheerful sunny day, you must have seen strange people with huge silver or golden “plates”. Often this is a whole group of people idly wandering around the shady oases, someone posing with their lips wrapped in a duck, someone looking through the viewfinder, and finally some strange man throws bunnies in the face of our cute “duck”, just like me when something at school, in history lessons. And it would seem, well, why are you blinding her, it’s possible, as they like to say, “and so it will do”, for someone, of course, it will do, but if you looked here, this is not your case.

Well, for clarity, I will show the difference between “it will do” and as it should. The case is as simple as the corner of a house. Imagine you are taking pictures, of course, for a lot of money, and you need to shoot a couple on a hot summer day, when the sun is already coming up, but it stings ruthlessly, so in backlighting you get some kind of #wonderfulcrap, like this:



Someone will now say that the photographer is a loser, he chose the wrong angle, set up the camera, chose the place, and so on and so forth. But as for me, everything is much simpler - the photo does not catch on, because there is no proper lighting, because the play of light and shadow is photography. Of course, I could choose a different angle, light, or even take pictures against the sun, but why, if there is a reflector? Compare with the following picture:

D800, 50mm, ISO 100, f/5.6, 1/125

Tell me, is it better? I probably will not surprise anyone if I say that these two photos were taken at the same time, in the same place and with the same settings. The only difference is that in the second photo my good assistant, and the groom's brother, sent the "hare" directly to the newlyweds.

There is no magic here. The light falling on the reflector is unevenly reflected and partially scattered, while at the same time weakening the reflected sun rays, which fall on our newlyweds softly and pleasantly for the eye, while not only yours, photographic, but also from your models does not make wrinkled Asians blinded by sultry the sun.


D800, 50mm, ISO 140, f/5.6, 1/160

Now with regard to technology. First of all, you need an assistant. It was not in vain that I spoke about a group of people at the beginning of the article, because. it's impossible to do it alone. It is desirable that it be a man, because. sometimes you have to hold the reflector from very uncomfortable positions, and even on outstretched arms, as in the photo above, where the reflector is placed on top of the rose garden stand, and it will be extremely difficult for a small, puny girl to hold back the “sail” swinging in the wind.

The task of the assistant is to catch the “hare” and direct it to the newlyweds, who are in the shade at the same time. You can even have the sun beat on the back of our models, this way you create a natural light contour of the backlight, as in the photo below:


D800, 50mm, ISO 125, f/5.6, 1/160

That's actually all the technology. The trick is in the simplicity of this technique. There are no more pitfalls or additional tricks. You can play around with two reflectors, but in my opinion it's not worth it, because.

k. severely limits the photographer in movement and location selection, and the effect is almost imperceptible. However, sometimes you will need more light to increase the shutter speed, for example for photos in motion, and then it may be useful.



Which reflector to choose, you ask? Get one that rolls up comfortably and takes up little space. My favorite reflector is a circle with a diameter of 110 cm, while when folded it fits in a round package with a diameter of 40 cm, and if you try, it will easily fit into the laptop compartment in a photo backpack.



For outdoor photography, you will need a reflector of two types. Silver, which I used for photography, and gold for warm tones. Personally, I prefer to shoot when the sun takes on a warm orange hue, so I don't need to "warm up" the tones any further. But the conditions may not always be so suitable:

D800, 50mm, ISO400, f/5.6, 1/200

Discarding the lyrics and philosophy, in the bottom line, I would like to note the following:

• In order to take good photos, the reflector is not essential, if you feel the light, you will choose the right lighting without it:

D800, 50mm, ISO 100, f/5.6, 1/250
D800, 50mm, ISO 800, f/3.2, 1/60 (soft box)
• But if you have the opportunity and resources (I mean an assistant), then be sure not to be lazy and take a reflector with you, it will help you a lot.
• A good reflector is a reflector that takes up little space and fits into a backpack when folded. In this case, you should not take a reflector that is less than 1m in diameter, because. the reflection area will be extremely small and your assistant will need to approach almost tightly to achieve the desired effect.
• When shooting with a reflector, the model should become in the shade, while you can even put it in backlight, thus. you will get a light outline effect.

If I missed something or you have questions, write in the comments, do not be shy.

P.S. The reflector, by the way, can be used not only during street shooting, but also, but more on that some other time.