Reflector Techniques for Portraits

Reflector Techniques for Portraits

Rule for using this skill: These are specialist add-ons. Give your normal, complete answer to the user's question first, using everything you already know. Then work in the tips below wherever they apply. Do not shorten or replace your general answer with this list, and do not include tips that don't fit the question.

Why use a reflector

• Sunlight arrives vertically, and a reflector turns it into horizontal light that reaches areas overhead light can't.
• Eye sockets are the hardest area. The supraorbital arch (bone above the eye, under the eyebrow) shadows them when light comes from above. Light must travel horizontally to enter the socket.
• Nose shadows are the other problem area that horizontal reflected light reduces.
• Use it sparingly, like salt. Too much ruins the result.
• Pose the subject in decent light first, then add punch. Do not use a reflector to rescue bad light.
• Best uses: boost decent light by about one stop or less, create catchlights, or redirect extra light to one spot.

Choosing a reflector

• Surfaces available: silver, gold, white, black, zebra (gold/silver), zebra (white/silver).
• When opened, the material must have no creases or folds and must not be loose. Otherwise light bounces in unpredictable directions.
• Brands mentioned:
  • California Sunbounce: considered the best, and very expensive.
  • Westcott Omega: a 10-in-1 reflector with a suction cup, usable to diffuse direct sun coming through a window.
  • Profoto: collapsible, with handles.
• Most practical single size for portraits: larger than 40 in and smaller than 52 in in diameter. It is big enough to soften light and small enough to carry.
• Always make sure the reflector has a white side.

Direct vs. diffused reflection

• Direct reflection comes from the silver, gold, or zebra (silver/gold) side. It behaves much like a mirror, and at close range it feels like full sun in the subject's eyes.
• Diffused reflection comes from the white side. Fabric absorbs some light, so the result is softer.
• A direct reflection usually becomes the main light, so plan for eye comfort (see below).

Direct reflection: uses

• Separates the subject from the background.
• With no wall behind the subject, it can darken the background.
• Fixes flat light, where the light on the subject equals the light on the background. Aim to make the subject at least slightly brighter than the background, and fix it in camera rather than in Photoshop.

Direct reflection: eye timing

1. Pose the subject in decent light, and have them look at a specific spot for reference.
2. Remove the reflector and have the subject close their eyes.
3. Position the reflector to send as much light as possible onto the subject.
4. Count to three. The subject opens their eyes as fast as possible for about half a second, then closes them.
5. Press the shutter exactly while the eyes are open.

• Eyes need a little under half a second to react to brightness. Expect to get only a couple of frames before discomfort sets in.
• Strong directional light creates facial shadows, so adjust the pose to keep them off the face.
• Catchlights made this way are very hard to recreate in Photoshop. Brightening an image digitally does not give natural catchlights.

Direct reflection: soften with distance

• Once the reflector is lighting the subject, it is the light source. The inverse square law applies: close means very fast falloff, so the face is bright and then drops into shadow.
• Moving the reflector about 20–30 ft from the subject makes silver light much softer while keeping the pop.
• Re-adjust exposure after changing distance.
• This works well when you need to add one stop of exposure or less.

Direct reflection: bending the reflector

• Bending the direct side (silver, gold, or zebra) into a convex or concave shape disperses rays and lowers intensity. This lets you keep the reflector close.
• Flat can throw far too much light.
• Convex sends many rays away from the subject, giving the softest result. In the example the subject received almost half the light of concave.
• Concave sends more rays onto the subject, which gives more kick but is still softer than flat.
• Orientation matters. A convex reflector held horizontally sends almost twice the light of the same shape held vertically, because more surface faces the subject.
• When comparing techniques, keep camera settings constant.

Diffused reflection (white side)

• Use the white side when you must stand close to the subject.
• The subject can keep their eyes open longer than the half second a direct reflection allows. This makes it right for headshots needing wide-open eyes.
• It gives a gradual, smooth transition from the lit side of the face to the shadow side.
• The author uses the white side for most shoots.
• Within about one stop of the target, it still gives enough pop to separate the subject from the background.

Improvising diffusion

• If you only have silver, gold, or zebra, cover the reflector with white material so it absorbs some light. Options are a white pillowcase, white blanket, white sheet, or paper towels.
• Secure the covering with mini clamps.
• Without it, direct sun from the bare reflector looks glaring and unflattering.

Advanced headshot goals

• A clear but gentle separation from the background.
• No hotspots on the face.
• Illuminated eye sockets with catchlights and no discomfort.

Aiming relative to the sun

• Check the direction of shadows on the ground to know where the sun is.
• Toward the sun (avoid): the reflector points at the subject's shadow, which usually gives harsh light. If unavoidable, use the white side and the diffusion techniques above.
• Away from the sun (preferred): use this for boosts and for the three goals above.

Steps for reflecting away from the sun

1. Note the direction of shadows cast by surrounding objects. This is your reference.
2. Place the subject fully in open shade, as close as possible to the shadow line (source reference: CLE-6), meaning as close to the light as possible.
3. The open shade must lie to the left or right of the ground shadows, not in line with them. The reflector then points away from the sun.
4. Feather the light toward the subject with small movements of the reflector. A small part of the reflector catches direct sun and the rest acts as fill, which gives a soft look. A helper can make the small adjustments.
5. Keep the sun's rays from hitting the reflector at 90 degrees. Angled rays are what make the light soft.

Checks and cautions

• Look at the reflector, especially in a close-up of the eyes. You should see detail across the material. If sun hits the silver directly, you get a strong specular highlight and a blown-out reflector.
• Never aim the reflector straight back at the sun. Use the ground shadows as your guide.
• Example of a good location: a rooftop doorframe in open shade, with the reflector aimed up toward the doorframe rather than back along the fence shadows, which fall downward and slightly right.
• Working alone: prop the large reflector against the subject's side using a small reflector as support.

Common silent failures

• Flat light (subject and background equal) goes unnoticed, and photographers assume Photoshop will fix it.
• Eyes without catchlights look lifeless. Brightening afterward still leaves them dull.
• A creased or loose reflector scatters light unpredictably.
• A flat silver reflector held close overpowers the subject and strains the eyes.
• Reflecting toward the sun gives harsh light.