Types
Apart from certain highly specialized components found in enlargers, projectors and scanners, photographic reflectors fall into two main groups:
Lamp reflectors
Diagram of a lamp reflector, showing path that light typically takes from a light source.
Similar to a domestic lampshade, these reflectors are fixed to an artificial light source (for example, a filament bulb or flash tube) to direct and shape the otherwise scattered light, reflecting it off their concave inner surfaces and directing it towards the scene to be photographed. Although there are a large number of variants, the most common types are:
spherical, short-sided, giving a relatively broad spread of light;
parabolic, providing a tighter, parallel beam of light.
The reflector factor is the ratio of the illumination provided by a lamp fitted within a reflector to the illumination provided without any reflector fitted. A matte reflector will typically have a reflector factor of around 2, due to its more diffuse effect, while a polished or metallic-finished reflector may have a factor of up to 6.
Board reflectors
Also known as plane reflectors, "flats" or bounce boards, this kind of reflector is located independent of a light source; the light is reflected off its surface, either to achieve a broader light source, or control shadows and highlights, or both. This kind of reflector generally has a very low reflectivity factor that varies widely according to surface texture and colour.
A board reflector positioned to "bounce" stray sunlight back into an outdoor film set.
As a result, it is most commonly used to control contrast in both artificial and natural lighting, in place of a fill light or "kick" light. In this case, light "spilling" from the main ambient or key light illuminating a scene is reflected back into the scene with a varying degrees of precision and intensity, according to the chosen reflective surface and its position relative to the scene.
Reflectors may also be used as a means of increasing the size of the main light source, which may (or may not) retain a direct path to the scene. By positioning a board reflector close to a light source, its effective size can be increased by "bouncing" the light off it. A very common example of this technique is the traditional umbrella reflector, typically having a gold, silver or matte white interior onto which a lamp fitted with a circular reflector is projected, providing a broad, soft illumination. The lamp faces away from the scene to be photographed, allowing only reflected light to be thrown forwards.
Apart from certain highly specialized components found in enlargers, projectors and scanners, photographic reflectors fall into two main groups:
Lamp reflectors
Diagram of a lamp reflector, showing path that light typically takes from a light source.
Similar to a domestic lampshade, these reflectors are fixed to an artificial light source (for example, a filament bulb or flash tube) to direct and shape the otherwise scattered light, reflecting it off their concave inner surfaces and directing it towards the scene to be photographed. Although there are a large number of variants, the most common types are:
spherical, short-sided, giving a relatively broad spread of light;
parabolic, providing a tighter, parallel beam of light.
The reflector factor is the ratio of the illumination provided by a lamp fitted within a reflector to the illumination provided without any reflector fitted. A matte reflector will typically have a reflector factor of around 2, due to its more diffuse effect, while a polished or metallic-finished reflector may have a factor of up to 6.
Board reflectors
Also known as plane reflectors, "flats" or bounce boards, this kind of reflector is located independent of a light source; the light is reflected off its surface, either to achieve a broader light source, or control shadows and highlights, or both. This kind of reflector generally has a very low reflectivity factor that varies widely according to surface texture and colour.
A board reflector positioned to "bounce" stray sunlight back into an outdoor film set.
As a result, it is most commonly used to control contrast in both artificial and natural lighting, in place of a fill light or "kick" light. In this case, light "spilling" from the main ambient or key light illuminating a scene is reflected back into the scene with a varying degrees of precision and intensity, according to the chosen reflective surface and its position relative to the scene.
Reflectors may also be used as a means of increasing the size of the main light source, which may (or may not) retain a direct path to the scene. By positioning a board reflector close to a light source, its effective size can be increased by "bouncing" the light off it. A very common example of this technique is the traditional umbrella reflector, typically having a gold, silver or matte white interior onto which a lamp fitted with a circular reflector is projected, providing a broad, soft illumination. The lamp faces away from the scene to be photographed, allowing only reflected light to be thrown forwards.
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