Raising a reflector, how to/need to?

<p>I'm planning on getting a big reflector (looking at this 5x7 one <a href="http://www.bhphotovideo.com/c/product/836791-REG/Digital_Juice_dj_sup_ref_scrn_gww_5x7_REFLECTOR_GOLD_SILVER.html">http://www.bhphotovideo.com/c/product/836791-REG/Digital_Juice_dj_sup_ref_scrn_gww_5x7_REFLECTOR_GOLD_SILVER.html)</a> to balance some big one-sided factory windows and a full body photo.</p>

<p>This will be my first reflector and I don't know exactly how I will be using it. The bits and pieces that I've gathered are that it is generally best to point light down at a 45 degree angle so my first question is 1. Is this mostly true for reflecting light as well? (I understand that in certain situations you'll want to be opposite the light, is that all situations or in some situations will you be hoisting a reflector up on a stand and angling it downwards?)</p>

<p>My second question depends on the answer to the first one, if one does mount reflectors on booms and angle them downwards for natural light, what does one use to do that? I've seen light booms with special attachments for reflectors but they all seem fairly short with the reflector attachment. What could I use to hoist a 5x7' reflector high enough to get 45 degrees downward?</p>

<p>http://www.bhphotovideo.com/c/product/272945REG/Impact_3218_Multiboom_Light_Stand_Reflector_Holder.html</p>

<p>Using a reflector on an angle depends on where the light source is coming from. If the sun is directly overhead, then it will be impossible to have a reflector high up and on a 45 degree downward angle over the subject. </p>

<p>In most cases (not all), you position the subject using the source as the key light and the reflector as bounce fill.</p>

<p>- Marc</p>

 

<p>Pointing a light down at a 45 degree angle in a portrait is with regards to the height of the light indeed the best position in portraiture. Even with large/body length size softboxes as the mainlight they as a rule are still aimed in a downward direction.<br>

But positioning a reflector in a high position in addition to that already high positioned main light is actually quite contraproductive.</p>

<p>The aim of using the reflector is to fill in the shadows that are created by the main light, and logically if that is positioned high, the shadows will appear low, i.e. under protruding facial/body parts like eyebrows. underneath eyes, nose, eyebrows, lips etc.</p>

<p>If you position the reflector in a high position as well, the reflected light will no little to nothing to fill in those shadows created, and even risk enhancing them even further since there will be more light coming from above and (still) nothing from below.<br>

At best/worst the effect created will be as if all the light is coming from above, great for dramatic effects ( e.g. used by director Jozef von Sternberg in the 1930 classic 'Die Blaue Engel' to give Marlene Dietrich dramatic cheekbones, since she actually had at that time a full faced farmer girls face. Or on the Diana Ross 'One Woman' album cover http://fullalbumsarchivesc-d.blogspot.nl/2008/02/diana-ross-one-woman-ultimate.html). But not of much use for 'normal' portrait/beauty/fashion photography (unless it's actually the effect you're after)<br>

<br />Based on my personal experience with beauty and portrait photography http://www.pbase.com/paul_k/beauty I'd rather recommend to position the reflector anywhere between parallel (for e.g. a three quarter of full out) to below the model (e.g. for a close up beauty shot) so the reflected light can fill in the shadows created by the main light.</p>

<p>In my experience you don't need any intricate or complicated constructions to attach you reflector to. I often just use a surplus lightstand and a simple clamp in case I want the reflection screen in a vertical, and a table, chair or even just an armrest to lean the reflector against/support the reflector when I want it in a upward pointing or even horizontal position.</p>

<p> </p>

<p>Thanks guys. The light is coming from large factory windows on one side.<br>

Basically what I'm reading is that a reflector only makes sense opposite (or close to opposite) the main light source. Is that about right?<br>

And a simple clamp and support should work since I'm not doing any crazy lifting or downward angling with it.</p>

<p>Thanks</p>

 

<p><em>Basically what I'm reading is that a reflector only makes sense opposite (or close to opposite) the main light source. Is that about right?</em><br>

<em> </em><br>

IMO almost :) . The light of the reflector will, similar to 'normal' light, decrease in intensity the further it gets away from the source (in this case the reflector itself).</p>

<p>Let's for example sake consider that your model, no matter if he/she's facing you/the camera fully frontall or is turned slightly, is on a line of 0 (zero) degrees.<br>

If you have the windows at a 90 degrees angle of the subject, and the reflector exactly opposite of that, it will 'fully' light the closest part of the model, and slowly fade towards the middle. And you'll risk getting more or less the effect of two light sources, left and right, and a bar of shadow in the middle of the model.</p>

<p>Again IMO, you'd rather better position the reflector between 45 and 60 degrees from the model (obviously on the shadowy side). You'll then have a well lit window facing side, and a, towards the furthest edge of the model gradually darkening side. But still not a model who's lit on one side, and (more or less) completely dark on the other .<br>

<br /> <em>And a simple clamp and support should work since I'm not doing any crazy lifting or downward angling with it.</em><br>

IMO, yup</p>

<p><em>The light is coming from large factory windows on one side.</em><br>

Sounds great, I'm jealous. Having wild fantasies about a derelict big empty factory hall filled with old machinery, patches of shadow and light and the possibilities that would give (e.g. the pictures of anne rohart dominique by issermann http://www.argentic.fr/product-12337.html ).<br>

Lots of success with the shoot.</p>

 

<p>Thanks Paul, that's very helpful! I toyed with a small reflector once and I couldn't make it look what I felt was natural, probably because I was positioning it exactly opposite and getting the second light source effect you are talking about.</p>

<p> </p>

<p>A reflector is another light source so you basically positiion it where you would position a light, but with the necessity to also have some light to reflect as others have described. <br /><br />But keep in mind that this is a pretty big reflector. It's only $130 or so but it might take a $500 boom and stand to position it properly, unless you're going to have someone with long arms stand there and hold it.</p>

<p>Think of a reflector as just another light source Horace. Personally I'd hesitate to use a silver reflector for portrait fill since it tends to give variable lighting - i.e. a kind of ripple effect like reflections from moving water. IMHO white reflectors give a smoother and more even fill. White reflectors are also less directional than silvered ones and spread the light more. In other words they provide a softer source of fill light.</p>

<p>I also wouldn't place a reflector directly opposite the key light. This can give a nasty shadow down the face between the areas where the key ends and the fill begins. Although I've seen so-called experts recommend this sort of placing in video tutorials. If you pull the reflector forward of the subject a little and angle it back, then this prevents a shadow line down the face. Basically, just use your eyes and really look at what the light is doing. Hopefully you'll see what I mean about the shaded mid-line.</p>

<p>Vary the degree of fill by adjusting the distance between the subject and reflector, and/or the distance from your key light - in this case the natural window light.</p>

<p>Edit: Since you almost never "need" a gold reflector, a silver/white reflector would make a more flexible option.</p>

<p>Okay, thank you. <br>

I'm thinking now (since I'm not doing any lifting or heavy angling with it) I might start with two or three large sheets of foamcore tied together and then just stand them up at an angle from the window light.</p>

<p>For a natural look reflectors need to be big.</p>

<p>Go to you local store and pick up a couple of 4x8 polystyrene foam boards. </p>

<p>Something like this: http://www.homedepot.com/p/CelloFoam-3-4-in-x-4-ft-x-8-ft-R-3-EPS-Panel-Foam-Insulation-Board-34803/202090244</p>

<p>You can stand them up, leaning towards each other or a light stand. If you want you can put them on a stand and position them whatever way you like. If you want to attach them to a stand you can use "forks": http://www.bhphotovideo.com/c/product/5182-REG/Manfrotto_143F_143F_Fork_for_Magic.html</p>

<p>You can tape them together with some duct tape and make a wall of them or a V shaped reflector. V shaped reflectors will stand by themselves and can be used for other things as well.</p>

<p> </p>

<p>Looks like a 5x7 pop up reflector on the same type of spring frame as 5x7 pop out backgrounds. They don't have much stiffness so at this size, which would be pretty difficult to hand hold and often aren't perfectly flat, I would prefer and use photoflex 3x6 and 6.5' frames and various panels for them. Equipped with legs, the 3x6 is free standing and works great as fill and remains up in studio for me with white/black on the shadow side of the studio-I am a left side main guy. It can be fit with a silver panel for more punch and works as a kicker if needed. Center bar allows one hand positioning. The 6.5 square is large. Gear bigger than I am. In studio I keep it on a rolling stand with white/black on the main side where it can be pulled in as side fill or turned with black to subject and perform 2 tasks simultaneously, flagging bg lights from camera and controlling controlling spill into studio. Outdoors, both can be fitted with translucent panel to diffuse or bang light through. The 6.5 needs substantial stands, I use bg stands, and sandbags in any kind of breeze. Bottom line, I would consider the 3x6 before the 5x7. The photoflex frames are shock corded and set up quickly. I merely fold the 3x6 in half with the panel attached to haul in the truck. </p>

Here's the fundamental, non-breakable rule about lighting: use your eyes and not rules. By that I mean set your lights

(including any reflectors, flags, or scrims ) and see what the lighting is doing. If you don't like what you see change

something

 

In your case the light source isn't movable but your reflector and presumably the subject are. So if you have your subject

min a position relative to the background and the lighting, move the reflector. Closer, farther away, up and down and

angle. And even if you do, at first, like what you see, try changing the reflector angle and position to see what other

effects you can create.

 

It may seem that there is a near infinite range of things you can do and that I s why you have to learn to trust your eyes.

You will quickly learn which direction to move in.

Just want to add a thought or two here. That you need to think up front about what kind of grip (or grips/clamps) you will need to handle a big reflector and be able to angle it precisely so it will stay put. Lastolite UK company, among others, has a very good on line section on their reflectors and stands with some useful illustrations and video on line which will be a good thinking out tool for you before you buy...

A quality reflector and frame can last a long time if well made. Sure, by all means experiment with fomecore and other materials as well and use them along with the foldaways.

In which case you will STILL need a clamp or two and a sturdy stand of some kind that will not trip you up as you work. The variety of effect, as Ellis describes so aptly, are so numerous that only real on site experiment will answer your question. So I have found anyway.

 

Reflective quality- light output ergo distance to subject and source- of each brand varies too. As does color and specularity. A lot is a matter of taste I think.

<p>Personally, I find white/silver reflectors more useful than those with gold surfaces. The simplest way to mount a foldable reflector of that size is to grip-clip two corners of the reflector to the top of two lightweight stands. You could also gaff-tape it to an opposing wall. Also, though its reflectance is quite low, a couple of V-flats made out of 4' x 8' sheets of Foamcore or Gatorboard can be self-standing when arranged in a 'V' shape.</p>

<p>But, I assume what you're looking for is basically a "directionless fill" for the side of the subject opposite the windows (so a 45-degree, down-angle isn't really necessary). The problem with using bounced fill in this kind of application is that it usually doesn't provide enough output. You would more easily bring up the exposure on the side opposite the windows using a strobe to bounce additional light into the reflector, or by simply adding another source using a strobe through a large softbox, umbrella (shoot-through or reflective), or scrim.</p>

<p>When lighting for television, I'll usually place a soft source (e.g., KinoFlo, Cineo, etc.) behind a 4' x 4' Polysilk (similar to a 1.25-stop scrim) on the "fill" side. An even nicer solution for you could be to tape up two 4' x 8' sheets of Foamcore (or any material that's white enough) onto the opposing wall, and simply bounce a strobe into that surface, effectively creating a large, diffuse, 8' x 8' indirect source.</p>