Comparison of softbox and umbrella

Umbrella or softbox?

Author: Fimpuls.ru · Published 07/02/2011 · Updated 09/23/2018

A little theory today. Let's talk about the difference between umbrellas and softboxes.

Each light source has its own advantages and disadvantages.

The umbrella is simple. The dissipative fabric is attached to the extendable knitting needles.

Umbrellas are divided into two large groups. “Umbrella for light” and “umbrella for reflection”. The first group includes almost all white umbrellas. The light source is directed at the model through the umbrella (into the light). White umbrellas are practically not used for reflection due to large light losses.

Umbrellas coated on the inside with a metallized composition are called “reflective” umbrellas. As a rule, they are either “silver” or “gold”.

A silver umbrella gives a colder light in reflection than a white one. Gold is the opposite.

The advantages of umbrellas are their compactness and relatively low price. In addition, due to the large scattering angle, it is easier to illuminate large groups of people (with the same geometric dimensions as a softbox).

Umbrellas have the ability to widely adjust the softness of the light by moving the light source closer or further away from the diffuser surface of the umbrella.

There are also universal umbrellas that can be used for both reflection and transmission, depending on the material stretched over the spokes.

Another important advantage of umbrellas is their versatility of mounting on a stand. An umbrella from any manufacturer can be used with a monoblock from any manufacturer. Most softboxes do not have such versatility (the exception is softboxes for on-camera flashes).

Disadvantages of umbrellas . Less control over the spread of light throughout the room. Backlights into the lens, glare and a drop in contrast are possible. This problem is partially solved by using umbrellas with a back black cover (softbox umbrella). The light from umbrellas is more difficult to separate: in the case of a small room, it is problematic to separate the background lighting from the model lighting.

The glare from umbrellas in the eyes does not look very aesthetically pleasing when shooting a full-length portrait.

The same unaesthetic glare occurs when shooting a glossy object. Therefore, I never remove cosmetics, glazed pastries, cakes, etc. with umbrellas.

Even in such a simple case, the difference is obvious. The highlights look much better when using a softbox.

Reflective umbrellas have the ability to minimize the visibility of spokes in glossy surfaces of objects (including in the eyes) through the use of an additional external diffuser.

By the way, large light sources are designed like reflection umbrellas (for example, Broncolor Para 330 FB ).

Softboxes , unlike umbrellas, come in a variety of shapes. Here are octaboxes (an attempt to bring the shape of the source closer to a circle), here are squares, here are rectangles, here are very narrow stripboxes. We select the appropriate softbox shape for the task at hand.

Hard softboxes may have plastic rather than fabric as a diffuser. This allows you to avoid the noticeability of the texture of the diffuser when taking macro photographs of an object, for example, cosmetics ( “boxlight” , “striplight” and “lightbar” for Broncolor ). The light from such a hard softbox is very uniform. Due to the strict geometric dimensions, the reflections of the boxlight in the glare object have smooth edges. Plus, the device is easy to clean when working with liquids, which means that during shooting, the illumination across the field of the boxlight will always be uniform.

The spread of light from a softbox, unlike an umbrella, is more controlled. Especially if the softbox has compendiums (“with ears”, “with curtains”). But if we need to photograph a large group of people, then it is better to use softboxes without compendiums.

The hardness of the softbox light can be adjusted by removing the outer and inner diffuser (if any). After removing them, the softbox will no longer shine evenly over its entire area, which means the spot of light (or, in other words, the size of the light source) will decrease, which will make the light harder.

Disadvantages of softboxes . They are heavier (mainly due to the fastening mechanism) and more expensive. Most softboxes attach directly to the lighting fixture itself using a bayonet mount. Moreover, these mounts differ in design depending on the manufacturer. You can't put a Hensel on an Elinchrom .

Good luck in your work and creativity!

Comparison of softbox and umbrella

A variety of light modifiers are used for different shooting situations. This raises questions such as why is the umbrella so big or what is the benefit of using a softbox? How can you control the direction and concentration of light using these devices? Let's talk about this. All four characteristics of light are important for a portrait: color, direction, intensity and quality. Only light modifiers such as an umbrella or softbox allow you to change the quality of the light from the flash.

Each modifier has its own disadvantages and advantages. One rule applies to all of them: the closest location of the modifier to the subject produces the softest light. Moving the lighting devices away from the subject, the light will become harsher.

What is the difference between an umbrella and a softbox?

An umbrella is an inexpensive and extremely accessible light modifier. A white umbrella for shooting against the light will cost about 250 rubles. An umbrella for photography can be of two types: for transmission and for reflection.

The principle of operation of a transparent umbrella

The light from the flash hits the inner surface of the umbrella. Due to the structure of the material, part of the light passes through the umbrella and from the back it looks as if the light is emitted directly by the modifier. In this case, the output lighting already has a different, more diffuse structure. Thanks to the large surface of the umbrella, the point source becomes a large light source. This softens the lighting.

The principle of operation of a reflective umbrella

The inner surface of such umbrellas has a white, silver or golden coating. This coating does not transmit light, but reflects it. Such umbrellas create a wide and soft beam of light, while the light is colored in a certain shade. The reflection from such umbrellas is similar to natural light. The light dispersion of such an umbrella is very strong, therefore, to illuminate a certain area, a powerful flash is needed.

Umbrellas are great for beginners as they are very easy to use.

The picture created by the umbrella is not very clear. Therefore, lighting errors are not as noticeable. This is both good and bad, because if the error is invisible, then it will not be possible to correct it, and this is extremely necessary for development and learning. Therefore, umbrellas can help beginners take great photos, but learning to take photos with them is not easy.

Softbox

Softboxes are most often rectangular or octagonal in shape. Sometimes hexagonal ones are also found. Rectangular modifiers make light as similar as possible to the light that enters the room through a window. More rounded softboxes create an imitation of light from the sun. Light has a clearly defined direction.

The beauty of a softbox is that it softens the light but maintains its directionality. Using honeycombs you can create an even more directional light flux. The advantage of a softbox over an umbrella is that it clearly directs the light, while the umbrella diffuses it. Due to scattering, re-reflection from the wallpaper in the room may occur and the light will turn into colors that we do not need. For shooting at home, it is better to use a softbox.

Softboxes are sold in a wide range of sizes. This allows you to select a light modifier for any shooting conditions.

Comparison of softbox and umbrella

To see the difference between a softbox and an umbrella, you need to compare pictures taken with both devices. The comparison involves a reflective umbrella with 16 spokes in white and a softbox measuring 90 x 120 cm. Apart from a flash with a modifier, no additional light sources are used.

pulse monoblock is used as a light source . It is located to the right of the model. The first shot was taken using a softbox, and the second using an umbrella.

The umbrella provides soft, diffused light that fills the shadows, making shadow work easier. The softbox gives more directional light, which creates a sharp shadow pattern. Therefore, you need to be very careful about how the shadows fall. This makes it more difficult for the photographer to work, but allows for much more unique lighting settings.

For each specific case, a specific modifier is selected. All softboxes and umbrellas act as a kind of brushes for the photographer. There are wider or narrower brushes. There are soft ones and there are hard ones.

About softboxes

The shape of the softbox has an impact on lighting. It is worth considering the most popular and most commonly used softbox configurations.

Elongated thin softboxes (stripboxes) are designed to create a dramatic plot. It is also necessary for uniform illumination of the full-length model. Stripboxes are devices with an aspect ratio of 2:1 or more. For example, 60x120 refers to strip boxes, and 60x90 is already a quad box. This division is conditional. All softboxes whose shape is close to a square are called quadroboxes.

Let's compare both types of softboxes using an example. For both cases, the monoblock is placed in the same place. Behind the model is a gray paper background.

In the first photo I used a 90x120 softbox.

The brightness of the background changes due to the shape of the softbox.

Softbox 30x90 cm.

The best results can be obtained using an octagonal octabox. The lighting is direct and uniform. The glare in the eyes also changes depending on the shape of the softbox. The highlights in the eyes are very important for a portrait. They add a more picturesque effect to the photo.

The glare from a rectangular softbox is similar to what you get when shooting near a window. An elongated stripbox creates a clear, bright vertical line. Octabox allows you to get a more rounded highlight shape.

Transparent umbrella versus softbox

As you know, when using a “naked” flash, we get very hard light on the subject. To get soft light, photographers use different modifiers, the most popular of which are photo umbrellas and softboxes.

The umbrellas are distinguished by both great convenience and ease of carrying, and very simple installation: open, insert the leg into the holder - and you're done. Softboxes for portable lights are more difficult to install and much larger when folded. Plus, they are much more expensive than comparable photo umbrellas.

A natural question arises - what is the difference? Why not just use umbrellas? Or are they really so much worse in terms of the results obtained that after purchasing a softbox they need to be thrown into a distant drawer?

First, I want to show you the difference between a sunshade and a softbox, because this is where the differences between one and the other are well understood. Moreover, the test will take place indoors, because it is in such conditions that you will see and understand the differences between these modifiers. This is much more difficult to show outdoors. Moreover, I draw your attention to the fact that this is not an “official” test of any manufacturers - but only observations based on the experience of real filming, which, by and large, practically do not depend on the brand of the selected equipment.

So, here is the first shot with a standard umbrella in white light.

A skylight umbrella gives a very soft light and spreads it throughout the entire space being photographed. These umbrellas are great for photographing both single people and groups of up to 4-5 people, as they diffuse light over large areas.

It is also clearly visible that part of the light is reflected from the inner surface of the umbrella and this modifier illuminates not only what is in front of it, where the dome and flash are directed, but also considerable illumination appears in all directions, including back. This effect must be taken into account if you are shooting in places with limited space, since reflections from scattered light can greatly affect the light pattern, and beyond your control.

If you place an umbrella between you and the object you are photographing, you must carefully ensure that the reflected light from the inner surface does not hit the lens - this can lead to a decrease in the contrast of the image and the appearance of “hares” from light exposure.

The second photo shows a softbox measuring 60x90 cm.

This medium-sized softbox is perfect for shooting 1-2 people. It evenly illuminates the body for a shoulder-to-waist portrait, and when shooting a full-length portrait it covers 3/4 of the part, and in this case there will be a noticeable darkening of the light starting from the hips to the lower leg of the model. Shooting more than 2 people with this modifier is not a good idea, since you can only light such a group by moving the softbox further away, which immediately leads to a loss of softness of the light.

The softbox provides beautiful, soft and directional lighting with a very smooth gradient drop in intensity from the center to the edges of the light spot. The use of this modifier allows you to cut off unnecessary uncontrolled reflections and concentrate the light from the flash only on the subject being photographed. At the same time, it will not affect lighting from other sources or external lighting, which again gives greater control over the entire frame.

It must be remembered that the difference between these two modifiers does not make one “absolutely better” than the other. They are simply different, and their use depends on the specific task the photographer solves to create his creative idea. If you want to illuminate an object or model with soft light and additionally fill the room where the shooting is taking place, then perhaps a skylight umbrella will be the best choice. If in the same room you want to focus the light only on the model, without flooding the room with additional light, then you should choose a softbox. If you are photographing a large group of people, then a high-light umbrella will be a better and more suitable choice. A softbox is better suited for close-up portraits... But an umbrella will give a round highlight in the eyes, and a softbox will give a rectangular or square... And so on.

What to choose first? Not a simple question..))

If you are on a limited budget, then you can start with an umbrella. If you have the opportunity to buy a softbox, then perhaps it’s better to start with it, because control over the light is important. The best option, of course, is to have both, and use them depending on your goals and convenience.

You may ask why there are no reflective umbrellas in this note? Because they have their own nuances, and they should be compared separately with both umbrellas for transparency and umbrellas for reflection. And such notes will definitely appear in the “Practice” section of the site!

If you have any questions about skylight umbrellas and softboxes, ask in the comments..))

Photoblog 365

May 20, 2017

Light modifiers. Which one is right for you?

One of the biggest challenges photographers face is developing a style that is not only recognizable, but also resonates with their target audience. Many people begin their search solely as natural light photographers. Some people choose to stay in this stage indefinitely, and that's fine. Of course, there are many ways to manipulate natural light, however, it is still a limiting factor both professionally and financially. A fairly common development path for a photographer is the transition from natural lighting to the use of artificial light sources. Brittany Smith talked about four lighting modifiers for portrait photography in her article on the SLR Lounge website.

The first purchase of an external flash or studio all-in-one is exciting for any photographer. Everyone chooses for themselves whether they should invest in higher-level equipment or start with something simple. As soon as this equipment is unpacked and assembled, the fun begins.

Top left - parabolic, top right - octobox, bottom left - beauty dish, bottom right - portrait softbox

The way a photographer chooses to use light, out of all other options, determines his artistic style. A good starting point might be to determine whether you prefer images with more contrast or softer ones with more tones and gradient transitions. Decide whether you prefer to get a source that has a large and gradual transition from shadow to light, or whether you like a sharp change between bright and dark areas with a sharp transition. Try shooting with different modifiers to see which option you like best and which one you are more comfortable working with, and then make a decisive choice.

Below are four different modifiers for studio lighting. The source and the model in all cases were in their places, at the same distance.

Parabolic silver reflective umbrella

Parabolic reflective umbrellas are the most expensive and often prove to be the most flexible in operation. These umbrellas come with a white or silver reflective finish that creates more contrast in your photos. These umbrellas have more sides and spokes than standard umbrellas, and sizes range from 90 cm to more than two meters. The degree of contrast in such umbrellas varies depending on the location of the light source.

In this example, the light was in a position that gave a smooth transition from bright to dark, as if wrapping around the model. Due to the diameter and depth of this parabolic umbrella, it cannot tilt as much as other modifiers. However, to get even more contrast, you can simply raise it higher or move it further one and a half to two meters.

The versatility and variety of parabolic umbrellas is amazing. They can produce very high fill for fairly “flat” images, and create the great tonal transitions and contrast found in fashion magazines that use simple diffuse or honeycomb lighting.

This is a worthy investment for the serious fashion or portrait photographer. Not all parabolic umbrellas are the same, and so the price can vary significantly, from $100 to over $4,000.

Octobox

An octobox is actually a softbox with eight sides. Usually its diameter is smaller and therefore the image becomes more contrasting, while the light still “envelops” the model. Octobox creates beautiful light with a smooth gradation between highlights and shadows in areas of higher contrast.

They range in price from $70 to over $300 and are considered relatively inexpensive compared to other modifiers. They are also very light and easy to store. In addition to the white sunshade, this is another modifier that is recommended for portrait photographers, and it's easy to see why.

beauty plate

Beauty dishes are a staple tool among many fashion photographers and some classical portrait photographers. Like parabolic umbrellas they come in a white or silver finish, and the silver option gives much more contrast. Most beauty dishes are around 50-60cm in diameter, but there are manufacturers like Mola that offer more variations.

A beauty dish gives a crisp look with sharp contrast that can be softened by a white diffuser. The light can also be made more directional by adding honeycombs. The peculiarity of the plate is the sharp edge of the light, while in focus the light envelops the model. A common misconception is to use a beauty dish only to illuminate the subject's face. At the right angle, it can illuminate the entire body.

Beauty plates are made of metal and range in price from $70 to over $500. Such modifiers are important for both beauty photography and fashion photographers. A beauty dish is not as easy to use as a softbox, so good model skin is a must. For classic portraits, such a modifier is unlikely to be an ideal solution.

Portrait softbox

Broncolor's collapsible beauty dish doesn't look good enough, but looks can be deceiving. This modifier is equipped with a removable two-way reflector in white and gold, as well as a removable translucent white reflector. Without additional diffusers, the resulting light is similar to a conventional beauty dish with a large honeycomb. When a white or gold reflector is added, it resembles a regular beauty dish. If you add a translucent reflector, the light will look like the result of an octobox.

In this example, the modifier was used without additional accessories. The modifier gives a more contrasting pattern compared to other modifiers. The result is a sharp contrast between bright areas and shadows with slight transitions.

This portrait softbox costs about the same as regular portrait plates, which is about $235. Like other beauty plates, it is ideal for models with good skin. Because of its versatility and price, portrait softboxes are great modifiers for portrait photographers who really love dramatic portraits with great contrast.

Some much less expensive modifiers produce incredible results and should not be underestimated. Any of the modifiers presented would be a worthy addition to a studio equipment set. As with all areas of photography, the choice of lighting for models is a personal decision for each photographer.

Studio light: softbox, umbrella or beauty dish

All of these light-shaping accessories differ both in price and in the nature of the resulting image. By making the right choice, you will get the results you expect, without any unpleasant surprises.

What to buy first, a softbox or an umbrella?

To answer this question, let's first try to figure out what the pros and cons of each light-forming attachment are, and also consider the main features.

Photo umbrella

A photo umbrella is the simplest and most affordable solution for beginning photographers; it is very easy to use. For many people, their acquaintance with photo umbrellas dates back to the purchase of their first on-camera flash, when the need arose to expand the lighting capabilities. Such photography accessories are inexpensive and require minimal investment.

All you need is a basic kit, which includes: a photo umbrella , a flash and umbrella holder, a studio stand and preferably a radio synchronizer. Usually the first purchase is a photo umbrella for illumination; such models are installed in front of the flash and allow you to get soft, diffused light with a wide angle of illumination. Using a couple of lighting fixtures and two similar umbrellas, you can already build a basic lighting scheme to get good results.

It is clear that the possibilities for controlling light in such a scheme are very limited, but by setting one of the flashes to a higher power and the second to a lower one, you can get a high-quality three-dimensional image, both in portrait and product photography.

To expand the capabilities of such a studio kit, you can buy a reflective photo umbrella with a silver or white coating. The silver reflective photo umbrella has the highest light output efficiency, and the most directional, rigid and contrasting light and shadow pattern.

A white reflective umbrella, unlike a silver one, gives a soft light and, unlike a reflective umbrella, has better directionality. By combining different photography umbrellas, you can achieve very good results that will certainly please beginners at this stage of creative photography.

For example, a silver photoumbrella is good to use as the main coloring type of lighting, a white one as a modeling one, and in the backlight as a filler. An additional advantage is, of course, its light weight and compact size, most of them fit into a case for a studio stand and thus we get a good kit for outdoor shooting. In this case, it’s good to use 2-in-1 photo umbrellas, which, although they cost a little more, allow you to save space and get the opportunity to use two different effects depending on the shooting conditions. Read more about photo umbrellas in our article: How to choose a photo umbrella?

Softbox

Softboxes are the most popular light-shaping accessory in studio photography; they allow you to get the softest light, most similar to natural daylight. Due to their design, they provide minimal light dispersion to the sides.

Unlike an umbrella, you can buy a softbox in various shapes: rectangular, square, narrow and round.

What difficulties can novice photographers encounter when choosing a softbox ? For starters, this is the cost, the price is much higher than that of umbrellas and often does not fit into a limited budget. A softbox is more demanding on flash power, this is due to the presence of two diffusers and a large internal dispersion area; for example, even powerful on-camera flashes can only be used effectively with small softboxes.

To get the job done, especially for larger ones, you will need to buy studio flashes with high power. Assembling and disassembling takes much more time than preparing the umbrella for use, and when assembling large models, you may often need the help of another person. When assembled, it takes up much more space - this is not a problem for a large photo studio, but is this solution suitable for you in a compact or home photo studio?

Despite a number of features described above, many photographers prefer softboxes. Why? The answer is simple - it's quality, light characteristics and versatility. Using umbrellas, it is very difficult, and often impossible, to create complex professional designs; the main problem is too wide an angle of illumination and uneven light flux. Softbox does not have these disadvantages. You can install honeycombs on it and get additional control of the light flux.

A softbox umbrella, for example, Falcon FEA-U60 with a diameter of 154 cm, could be a compromise solution. It combines the advantage of ease of assembly of the umbrella and the softbox format; it also allows for the installation of a honeycomb, but the disadvantages include the presence of only one diffuser and the possibility of use with small-sized lighting fixtures.

So what should you choose? We recommend that novice photographers choose photo umbrellas for their work; their functionality will be quite enough to learn the basics, master simple schemes for using light and understand the basic principles of studio photography. In addition, a compact or home photo studio using umbrellas is an affordable solution for many. If you already have basic work experience and the budget does not have strict restrictions, choose softboxes, with their help you can build much interesting and complex schemes, but you should immediately take care of the purchase and use studio flashes or constant light sources that are appropriate in power.

The topic of equipment for a home photo studio is covered in more detail in the article: Equipment for a home photo studio

Softbox or beauty dish?

If everything is more or less clear with softboxes, then what is a beauty dish ? It's unlikely that you'll consider purchasing a beauty dish with only basic experience with studio equipment. Most likely, this question will arise once you have already mastered the basic use of umbrellas and softboxes.

A beauty dish or Beauty Dish is a specialized reflector for a flash; it has a close to parabolic shape, in which the light, reflected from a small deflector disk located in the center opposite the flash, is evenly distributed over the surface of the reflector. Such reflector models have a characteristic light-and-shadow pattern, combining a sufficient level of contrast and softness of the resulting image. The main area of ​​application of the reflector is clear from the name - this is, of course, portrait photography, but it can also be successfully used in other genres of photography.

Unlike a softbox, due to its shape, it allows you to get a perfectly round highlight in the model’s eyes or on a glossy or reflective surface of an object. Another feature of the work is that a certain distance to the subject is required, unlike a softbox, which provides the same type of lighting from any distance. Don’t forget the dimensions: while a softbox can always be folded for storage and transportation, a metal reflector always has a constant size and volume.

Also, this reflector can have different types of reflective coating - silver and white, which affect the nature of the light.

The silver beauty dish has a hard light pattern and a smaller lighting angle, while the white one has a larger lighting angle and a soft light pattern. Due to their more efficient light output, Beauty Dish silver-coated reflectors are suitable for low-power flashes. This reflector certainly allows you to get interesting results in your work, but softboxes are a universal attachment that can be used for any type of shooting, and a portrait reflector has a narrower specialization.

Comparison of softbox and umbrella

Have you looked at the course carefully?
Lesson #5 Flash Modifiers
Lesson #11 Background Lighting
Lesson #12 Butterfly Pattern
Lesson #16 High Key Shooting
In these lessons I use a softbox to shoot.

3 Reply from SergeVP 03/25/2015 15:31:20

• SergeVP
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• Re: Umbrella or softbox

  In these tutorials I use a softbox for shooting.

  Evgeniy, I didn’t express myself correctly, sorry. Yes, you used a softbox in these lessons. But, unfortunately, there are no tips on choosing softboxes. They are of different designs. Which one to choose, what parameters to follow. The same goes for umbrellas. Yes, there is a separate lesson about different umbrella coverings. But I think advice from an experienced person on how to choose them would not hurt.

  4 Reply from Evgeny Kartashov 03/25/2015 18:41:18

  • Evgeniy Kartashov
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  • Re: Umbrella or softbox

    5 Reply from SergeVP 03/25/2015 19:42:17

    • SergeVP
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    • Re: Umbrella or softbox

      6 Reply from Skvosh_Vitaly 01/20/2018 22:42:10 (01/20/2018 22:43:40 edited by Skvosh_Vitaly)

      • Skvosh_Vitaly
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      • Re: Umbrella or softbox

        I purchased and reviewed the course.
        I was convinced that I was theoretically savvy (which can’t be said about practical skills), I didn’t hear anything new, the course was quite superficial. I expected more specifics: choosing the power of the flash pulses depending on the distance to the model and/or the type of modifier used. Sometimes this was mentioned, but not systematically. In addition, it would be very useful to display shooting parameters, the power of light sources, and maybe even the lighting scheme on the screen.
        The drawing is perceived better visually than auditorily. But in general, for beginners, for a general idea, the course is not bad. Thank you.

        7 Reply from Skvosh_Vitaly 01/21/2018 15:00:13 (01/21/2018 15:00:25 edited by Skvosh_Vitaly)

        • Skvosh_Vitaly
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        • Re: Umbrella or softbox

          Dear Mr. Kartashov. Tell me, is it possible to see the photographs that you used (took) in this course somewhere? In the videos on the course, photographs are shown very briefly, so you don’t have time to see them. It would be much more useful to leave a demonstration of the photo in the video, and an explanation, i.e. leave your remarks behind the scenes. I would like to look through the course again with a photo in front of your eyes, and the ability to compare nearby frames in order to evaluate the changes and analyze all your actions. That is, learn from examples. Thank you.

          Comparison of softbox and umbrella

          Introduction to strobism. Remote control of on-camera flashes, part 2.

          1. Do you have a flash and a synchronizer, where should you put them?

          It is most convenient to use a stand (Your Captain Obvious :)). Any one will do, as long as it is light, stable and expands to at least two meters. If there is no stand, then the flash comes with a holder plate, which has a 1/4″ tripod socket. It can be installed on any flat surface or screwed onto a tripod platform, respectively for a tripod, monopod or handle holder and anything that has the appropriate thread. There is exactly the same socket in the heel of the synchronizer.

          2. Light modifiers.

          A naked flash produces harsh light, which is not always appropriate, and in general, you want to control the light.
          Various modifiers are used for this. The most popular are umbrellas and softboxes/octaboxes. All modifiers designed to soften and diffuse light follow the following rules: -The larger the size, the softer the light.
          -The closer the source, the softer the light.
          -The larger the size, the more power is needed to illuminate it.
          It should be noted that on-camera flash is a fairly low-power light source, so you shouldn’t use large modifiers with it. Umbrellas are the cheapest and most accessible modifiers.
          For use with on-camera flash, a tripod head is required (more on that below). They are lightweight, quickly unfold, and have a low cost. The “cons” include fragility and high windage. The only way the wind blows away is that when it falls, the spokes bend. The main types are: - umbrella for transmission,
          - umbrella for reflection.
          In addition to the light pattern, they differ in efficiency.
          An umbrella exposed to light “eats” more light. His splash of light is not controlled. This is neither good nor bad, it is a feature. How umbrellas work for transmission and reflection can be seen at this link. There are also softbox umbrellas. They are more expensive and not as popular as regular umbrellas. Softboxes/octaboxes give you more control over the light.
          It is more directional and allows you to concentrate it on the subject. The nature of the light pattern is different from that of an umbrella. Comparison “Umbrella vs. softbox" read here. The “disadvantages” are high cost, weight, and more time spent on assembly and disassembly.
          You can use softboxes/octaboxes designed specifically for on-camera flashes or studio ones via an adapter holder. For example, like this one:

          The first ones have a different design.
          From classic ones, on knitting needles, to quickly unfolding ones, a la an umbrella. The more convenient it is to use, the higher the price :). When choosing, you should pay attention to the location of the flash, or rather, how accessible it is. If there is a TTL synchronizer, then the location does not matter. All the same, control is carried out from the transmitter or camera. And if the flash is controlled manually or synchronization is via an optical channel, then it is better to avoid buying softboxes in which the flash is located inside.

          3. Ok, I bought an umbrella, how do I attach it to the flash?

          There are tripod heads for this:

          All of them on the market have almost the same design, but there are a few points that I would like to highlight:
          a . It is desirable that the head be made entirely of metal. I'm using Raylab RFLH-03. In principle, the design is reliable, with the exception of one node. The shoe mount is made of terrible quality plastic. The thread for the clamp screw broke after a week of not very active use.

          The problem is easily solved with adhesive tape, but for 850 rubles a more durable material could be used.

          If the tripod head allows it, you can do without a shoe. In Raylab RFLH-03 it is twisted, and a synchronizer is screwed in its place:

          b . An adapter with a 1/4″ or 3/8″ thread must be included with the tripod head. This will allow you to install it not only on a rack, but also in the ways described above.

          V . The junction of the links must have teeth. When tilting the umbrella, this connection will allow you to fix the tilt without tightening the locking screw as much as possible.

          Tripod heads of this type are the most common, but they have a drawback: the flash head is located far from the longitudinal axis of the umbrella, this leads to the fact that when working with an umbrella for reflection, the light flux is not distributed quite correctly. To move the flash closer to the axis of the umbrella, you can look for an L-type bracket (you can read more here) or make something similar yourself: ONE, TWO.

          4. Gels.

          The color temperature of the flash light is closer to daylight. For this reason, when shooting indoors with incandescent lamps, a situation arises when the subject being photographed has normal, natural colors, and the surroundings and background, where the light from the flash did not hit, acquire a red, orange or yellow tint. In principle, this can be corrected in a graphic editor, but it’s easier to remove it so that you don’t have to mess around. Especially if there are several dozen photos. You want to give the flash light the same color temperature as the ambient light. This is done using conversion gels - colored transparent films installed using special holders in front of the flash diffuser glass:

          The most popular are orange and green gels.
          Orange or CTO - color to orange.
          Used when shooting with incandescent lamps. I use it often and with pleasure :) The main thing is to guess the density. Green or plus green.
          Used to work with fluorescent lamps. Under the conditions under which I had to shoot, I didn’t notice any obvious effect. Fluorescent lamps are generally evil. With cheap ones, not only the color temperature varies, but also the brightness. At shutter speeds up to 1/200 this is not particularly noticeable, the curtains simply open and the entire surface of the matrix is ​​exposed. The problem arises in all its glory at short shutter speeds, when the curtains form a gap and move over the matrix. Okay, this is a topic for a separate conversation and is not what we are talking about. The gel has a parameter indicated in the name - this is the color density: 3/4, 1/2, 1/4, 1/8 and FULL.
          For example, gel 1/2 STO is two times weaker than gel STO Full. In the table you can see the color temperature conversion parameters:

          I haven’t checked it specifically, but it seems that the gels change not only the temperature, but also reduce the intensity of the light flux.
          While preparing this material, I found a statement that Full CTO reduces the light intensity by 2/3 of an exposure stop, and Full CTB by 2 stops. I didn’t write anything about blue, CTB - color to blue, light filter.
          I didn’t write it because I never found a use for it. From the information gleaned, it follows that by setting it to one or more fill flashes, you can minimize exposure to yellow light from electric lamps by adding cool, blue lighting. If anyone wants to figure it out, then google will help him. Please share the information later. Conversion filters:

          For clarity, I took several pictures illustrating the effect of using orange gel (OG). The white balance was set according to the white air conditioner towards which the flash was directed:

          Lighting only with incandescent lamps.

          Incandescent lamps + flash without filter.

          Incandescent lamps + flash with installed STO 1/2.

          Incandescent lamps + flash with installed service station FULL.

          Incandescent lamps + flash with installed STO FULL + STO 1/2 (i.e. two gels).

          I think no explanation is required.
          In addition to conversion filters, there are neutral and color filters.
          The first ones are designed to reduce the intensity of the light flux. The second ones are for creative shooting and creating effects. For example, paint the background with some color. In general, your imagination will tell you. Colored gels to create effects:

          That's all I wanted to say. Perhaps I missed something, but I hope that frequently asked questions will be answered.