Using a reflector for outdoor portraits

If we could only add one bit of lighting gear to a beginner’s portrait kit, it would not be a flash. It would be a fold-up reflector. They are cheap, weigh almost nothing, need no batteries, and they fix the most common problem with outdoor portraits: dark eye sockets and a shadowy side of the face.

What a reflector actually does

A reflector bounces light that is already there back onto your subject. It does not create light, so it works best when there is a strong light source to bounce, usually the sun or a bright patch of sky. Used well, it fills in shadows, puts a catchlight in the eyes, and makes skin look smoother and more even.

Because it is reflected light, you see the effect before you press the shutter. That makes reflectors a great teaching tool. Move it, watch the face change, and you start to understand how light shapes a person.

Choosing a reflector

The common type is a round or oval pop-out disc with a sprung frame that twists down to a third of its size. Many come as “5-in-1” kits: a translucent diffuser panel with a zip-on cover that has a different surface on each side.

The surfaces

• White. Soft, subtle, natural fill. The safest choice and the one we use most.
• Silver. Brighter and crisper. Great on overcast days or when the subject is a fair way from the reflector, but it can be harsh and make people squint in direct sun.
• Gold. Adds warmth. It can look lovely on a cool day, but a little goes a long way. Overdo it and skin turns orange.
• Black. Not a reflector at all. It absorbs light, so you can use it to deepen shadows on one side of the face and add shape (photographers call this negative fill).
• Translucent diffuser. Held between the sun and your subject, it softens harsh light like a portable cloud.

Size

Something around 80 to 110 cm across suits head-and-shoulders and half-length portraits. Bigger ones give softer, wider coverage but catch the wind like a sail.

Positioning basics

Start low and in front

The classic spot is below and slightly in front of the subject’s face, angled up, opposite the main light. This lifts shadows under the eyes and chin. Too low, though, and you get spooky “torch under the chin” lighting, so aim for a gentle upward angle rather than straight up.

Watch the distance

Light from a reflector falls off quickly as you move it away. Bring it closer for a stronger effect, move it back for a subtler one. Small changes make a big difference, so adjust in steps of a hand-width or so.

Look for the catchlight

A good test: look at your subject’s eyes. When the reflector is in the right spot, you will see a small bright highlight appear. That catchlight is what makes portraits look alive.

Common outdoor situations

Harsh midday sun

New Zealand’s summer sun can be fierce, and midday light is the hardest for portraits. Two options:

1. Turn your subject so the sun is behind them (backlit, so it rims their hair), then bounce light back into their face with the white side.
2. Use the diffuser panel overhead to soften the sun on their face, then add a little fill from below if needed.

Either way, keep sessions short and in shade between shots. Everyone, including the person holding the reflector, will appreciate sunscreen and a hat.

Open shade

Shade under a tree or beside a building gives soft, even light but can look flat and slightly blue. A white or silver reflector catching sunlight from just outside the shade adds direction and lifts the face. This is one of our favourite setups.

Overcast days

Light from above on a cloudy day can leave eye sockets dark. A reflector held low in front bounces the bright sky back up and fixes it. Silver works well here, since there is less light to work with.

Golden hour

Late in the day the light is already warm and low. Use white for gentle fill on the shadow side, and skip gold unless you really want an amber look.

Getting help

Reflectors are much easier with a helper. Give them a simple job: “keep the light on her face, and stop if she starts squinting.” If you are on your own:

• Use a reflector holder arm on a light stand
• Lean it against a bag, a fence or the ground at the right angle
• Ask your subject to hold a small one at waist height for close-up headshots

Dealing with wind

Coastal shoots and reflectors do not mix well on a breezy day. Hold it firmly by the edge with both hands, keep it low, and fold it away the moment it starts to pull. A smaller reflector, or simply using a white wall or light-coloured car as a natural reflector, is often easier.

Using what is already around you

Once you start noticing bounce light, you see free reflectors everywhere: pale sand, a white weatherboard wall, a concrete path, a sheet of newspaper. Positioning your subject near one of these can do the job without any gear.

Keep learning

Reflectors are a gentle way into the bigger world of portrait lighting. If you want feedback on your work and people to shoot with, a local club affiliated with the Photographic Society of New Zealand is a friendly place to start. For a look at how working portrait photographers approach their craft, the New Zealand Institute of Professional Photography is worth a browse.

Pick one up, practise on a patient friend, and watch how much better those faces look.