Using Reflectors Properly: The Cheapest Lighting Tool with the Most Versatility | Warren Marshall | Skillshare

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Using Reflectors Properly: The Cheapest Lighting Tool with the Most Versatility

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (38m)
    • 1. IIntroduction to Using Reflectors

    • 2. What is a Reflector?

    • 3. Why Use a Reflector?

    • 4. Do You Need a Reflector?

    • 5. Reflector Considerations

    • 6. Main Light or Fill Light

    • 7. Other Uses

    • 8. Our Photo Shoot

    • 9. Live Shoot - What not to do

    • 10. Live Shoot- Good Light

    • 11. Live Shoot - The right way

    • 12. Live Shoot - Light and Dark

    • 13. Live Shoot - Other uses

    • 14. Your Project

    • 15. Wrap up

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About This Class

A reflector can be created with any light reflective surface. We use reflectors in our photography to add or subtract light in our image.

Many different materials can be used as a reflector.



They can be very inexpensive or free and can transform your images

In this class we will teach you the process of manipulating daylight or artificial light to help “tell the story” in your photograph.



The process involves:

Finding good light

Assessing the need for a reflector

What is the purpose of using the Reflector?

The reflective surface required

Proximity of the reflector to your subject (Strength and softness),

Position of your reflector and Directing the light.



You will also learn the advantages and disadvantages of using reflectors over some other options, whether to use the reflector as a main light or a fill light and the correct techniques involved in each use.



You will see many images created with the use of reflectors both indoors and outdoors as well as a complete model photo shoot where I explain the techniques described in each lesson.



You will also see a couple of unusual ways to be creative with your reflector.

Please join us in this class because it really is the definitive volume on the proper use of photographic reflectors.


Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

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1. IIntroduction to Using Reflectors: Good, i 1 and Warren Marshall. I'm a professional photographer from New Castle, Australia. And this class is all about reflectors, had to use reflectors, had a find reflectors, and the ways that we can use reflectors to enhance our photographs. A reflector is probably the cheapest piece of photographic lighting equipment that you'll have a purchase. You may not even purchase it. You can use reflectors that you find around different places. You can use natural reflectors. There are a range of different options when we talk about reflecting light. Now reflect day is simply a surface that we can bounce light or reflect light off of. Light does bounce off surfaces, so it reflects back towards the light source and it will reflect off in another angle depending on the angle that we have a reflector. So light follows the principles of physics. It travels in straight lines. So if we can bounce light off a surface, we can predict where that light is going to end up. We can control their lights so much better. Whether we're using natural light or whether we're using artificial light. We can use reflectors of various different kinds to manipulate your images. At the least, it will improve your image. At the most. It will create spectacular results if you know how to use these reflectors properly. And that's what we're going to teach you in this class. We're going to run through a range of various different types of reflectors. We're going to show you the correct way to use them, because most photographers use them incorrectly. And we're going to show you some results that you can get with the reflectors that you have. Look at these images. They were created by the use of reflectors in various different ways. We're also going to show you a few videos of a live shoot that we did with the model in a local park using reflectors in various different ways. So you'll see practically how to use them so that you'll be able to do the same thing in your situation. So hang on, get into this class. I'm sure you're going to enjoy it. And it'll give you a whole new skill to be able to use your reflectors in your photography to improve the results that you get. 2. What is a Reflector?: What is a reflector? Reflector is any sort of surface that you can reflect light from everything from a concrete wall through to a mirror. There are a range of different reflectance surfaces that we can use to bounce a lot around the image. Now a few different things come into the equation when we start talking about reflectors. The first one is the reflectance of the surface. Obviously, if we're reflecting off a concrete wall as we are in this image, the light is not going to bounce back as strongly as it would from another type of surface. A shiny surface will reflect the light back more strongly, so will give us more light in our scene. We may have to be a bit more careful about how we use those shiny reflective surfaces. So we can use a range of different surfaces to reflect their light into our image. We can use natural surfaces such as walls or sand, water. All of those things will reflect light. As you can see in these images. We can also use artificial reflectors, such as cardboard or fabrics, or purpose-built reflectors that we've purchased for that purpose, and I'll run you through how to use those as well. Now the color of the surface has a big bearing over the results that we get as well. Generally speaking, we need to have a neutral colored surface. Anything from white to gray to even met black surfaces can reflect light back and it will reflect back in the same color that strikes the reflector. If we have a colored surface, then the reflected light will take on the color of the surface that we're using. So in some situations when you're using, say, an orange wall or a red wall, that light will bounce back onto our subject in those colors, which can be useful. But most of the time we're generally looking for neutral colored reflecting light. So those neutral colored surfaces are the best ones to go with. Now the other thing that applies to using reflectors is the softness of the light. We all know that the larger the light source, the softer the light we get on our subject. So we can use our reflectors in very close to our subject to produce a large, softer light. Or we can have hair subjects a bit further from a reflector to produce a slightly harder light. We can also change the direction of a reflector, which has a big bearing over here that light appears on our subject, whether it be a person, still-life, a macro shot, anything that we use reflectors in will be affected by the direction of that light. Here are a few more examples of shots that I've taken using reflectors, various different ways. Some of them have been used opposite the main light or at 90 degrees to the main light, which I'll explain to you later. Some of them have been used to bounced light backup into the face of the subject where we need to be very careful that we don't bounce too much light backup because we don't want that applaud effect on the face, but we can use water and we can use sand, we can use lighter colored concrete to bounce that light backup into our subject's face. You'll see a couple of these shots here where the light has been a bit too strong, bouncing backups. So we've got that applied effect on the face which doesn't look particularly attractive. So we need to be careful about how strong that light is when it's bouncing up. But we can use reflectors directly in front of your subject and have a light bouncing off those reflect his back into our subject's face as we have in these shots. So reflect is a very versatile. And once you understand how to use them, you can create some amazing images. Whether it being people, still lifes, macro, as I've mentioned before, whole range of shots, generally for landscape photographers, reflectors are less useful, but for anything reasonably close to the camera that we want to launch and light in a creative way. We can use reflectors and they're immensely helpful. 3. Why Use a Reflector?: Why would we choose to use a reflector? Generally speaking, a reflector is used in two different ways. The first way is to create a main light on our subject. So it's reflective surface that produces the most light on our subject. Our main light is the light that produces the most light on our subject. When we're using a reflector. In that case, we need to use it in a particular way, which I'll explain a little bit later in this class. We can also use a reflector as a fill light, which means we have another source of bright light on our subject. And the reflector is a secondary light simply to fill in some of the shadows so they're not quite as strong. In the case of the applied, I was mentioning before when we're using a reflected down low to bounced light backup into face of our subject. If we're shooting people, that secondary reflect that needs to be a little bit less powerful than the main lot because we don't want it to overcome that main light. So reflect this can be used in a number of different ways. And the purpose of the use of the reflector will determine how we use it. Now reflect his aren't used or shouldn't be used to, correct bad lighting. We still need to understand how light works on our subject. We still need to be able to create nice light on your subject or light this going to work in the way that we want it to, to tell the story of their image. The reflector is simply used to enhance that and to maybe lower the contrast or increase the contrast, or to bounce a little bit of light back into areas that we want to show interest. But mine lot is not necessarily launching those particular spots. So don't think a reflector is there to correct bad lighting. It's there to enhance good lighting. 4. Do You Need a Reflector?: So how do we use a reflector? Reflector or reflective surface can be used in a number of different ways. The first thing we need to think about is how we want to light our subject. We need to find good light for our subject. Whether we're using the reflector is a main light or whether we're using some natural lights and daylight, or whether we're using some artificial light flash or LED or whatever you'd like to use. We need to create that main light to start with. And then we think about, do we need a reflector? Is the reflected there for the purpose of enhancing the shadows and softening those shadows. Is it used for another particular purpose? Then we may be able to get away without using reflector. But when we are using reflect to think about the purpose, the reason why it's there. Don't just use it for the sake of using it. Then we need to think about what sort of surface we want for our reflector. There's a range of different options that we've got with handheld reflectors. We can use something simply like a white card that we can use to bounce light back into our subject. We can use a white surface such as this, or we could use a silver surface such as this, which will have a little bit more reflectance and bounce a little bit more light back into our subject. We can use purpose-built reflectors, reflectors that enable us to use a number of different surfaces. These sort of reflect this called 51 reflectors are really handy. They come in a range of different sizes. This one's quite big, so I can't really show you the whole reflector, but we have various different surfaces on this reflected. We have a white surface here. We have a gold surface on the back, which I'll speak a little bit more about later on. We also have within the reflector a silver surface that will reflect light a little bit more than the white. And we also have a black surface. So the black surface allows us to capitalize and to MVP like light, dark and their shadows, which we'll see later on in the class as well. Also within these reflectors, we have a translucent Center, please. The translucent reflector. He's a white fabric that allows light to pass through it, which allows us to put it in the path of direct sunlight or direct light of some sort. And it will diffuse that light and soften that light on our subject. And again, you'll see that in the videos that we've got for you later in this class, we'll see how we use this diffuser in a couple of different ways. So these 51 reflect is a quite handy. They fall down to a small packets so they can fit in your camera bag or in your trolley, whatever you want to do to carry them around there. A little bit more convenient than having a cardboard card or we're a big piece of foam core or something like that. But either of them will work fine. We can also use fabric. You can make up your own reflect that. Just make up a frame and put some fabric on it and you reflect us there for you. So there's a range of different options for us when we talk about making reflectors or purchasing reflect this. 5. Reflector Considerations: You do need a couple of extra things when you're using a reflector and you didn't need to think about a couple of extra things. The first one is that you need an assistant or somebody to hold that reflector. It's very difficult as a photographer to be taking photographs and holding a reflector in the correct position. You may have seen some people tried to do it, but the results that they get a very less than ideal because you really need somebody who knows what they're doing to hold that reflector in the correct position. And we'll talk about that a little bit later and show you how to hold the Reflector and where to hold the Reflector to get the best results. The other thing about reflectors is that they don't work particularly well on windy days because it's a large, flat surface. It tends to catch the wind and it's very difficult to hold it still. On windy days. We also need somebody to hold it who knows what they're doing. Because they're reflector is no good if it's just not in the right position or if it's not reflecting on the right part of our subject. So an assistant who's well drilled or knows what they're doing can make a huge difference to the results that we get with air reflect on. I reflect it needs to be held flat. We see a lot of people holding reflectors and they bent or they actually intentionally bend them for some particular purpose. But a bent reflector is going to throw a narrow highlight on your subject, which is going to be very difficult to control. A flat, very flat reflector is going to throw a larger light onto your subjects. So it's going to be much easier to control, is going to be a larger highlight areas, so your reflector is going to look more natural that way. So avoid having a bent reflect us some cheaper reflectors, very, particularly the 59 ones, tend not to sit flat and they tend to warp after a while and they're not very flat, but a flat reflector is a really necessary thing if we want to get the best results. Reflectors can also be quite dazzling and quite bright on people's faces depending on how we use them, I tend not to use reflectors in the sunlight very much simply because that bright light, less sunlight reflecting off the reflector onto my subject's face means that they're squinting or they're, they're uncomfortable with that very bright light. So I tend to use my reflectors in the shade more than I do in the sunlight. Reflectors are handy to use indoors as well. When we're shooting in the studio, we use reflectors quite a lot. And you'll see some results here. Some shots that we've used reflected in the studio, often chin reflected or bounced, reflected to bounce light up to soften light on people's faces. We can tell when we've used one of those because there'll be a little faint catch light in the bottom of the eye, which is the reflect that reflecting in that eye. So you can often tell when you're looking at an image if a reflector has been used because they reflect, the light will be a little bit duller than the main light. 6. Main Light or Fill Light: As I mentioned earlier, we need to think about if we're using a reflector as a main light or as a fill light. When we're using a reflector as a main light, we need to think of using a reflector according to the light theory that we've spoken about in other classes. And a couple of things that we need to think about, mostly when we're using a reflector as a main light. The first one is that the light needs to come down onto our subject. Because your brain expects light to come down onto a subject, whether it be a person or a thing. So a reflector needs to be healed up above eye level of the subject. I see so many photographers holding the reflected down low or photographers assistance holding the reflected down low because it's much easier to do it that way. And reflecting the light upon to people's faces. We get that applied which your brain doesn't like. The photograph doesn't look nearly as good as having that light coming down onto our subject. It looks so much more natural. So your assistant needs to know to hold that reflector up above eye level and look at that highlight on the subject's face so that they know that it's there all the time. The closer in our reflector is to our subject, the more effective it's going to be enlarging them. So the brighter the light from the reflector will be on their face. When we're talking about photographing people. Obviously, the further back that light is, the less bright it will be. Also the further back that reflector is, the heart of that light's going to be from our reflector. So if we move a reflector in very close to our subject is going to be very large light source in relation to them. So it's going to be a softer light, so it will wrap around their face a little bit more. As we move it further back is going to be a bit smaller in relation to our subjects so that light becomes a little less soft. So consider that when you're working with your reflector as well. Different surfaces as I mentioned before, we'll reflect more light as well. So maybe a silver reflector further back. We'll give you sufficient amount of light and not be to wrap around and to interfere too much with the available light that you've got already on your subject. Now, if we're using a reflector as a fill light, It's totally different because that fill light is simply there to supplement our main light that we've already got on your subject's face. So as a reflector fill, we want that reflect it to be less intense. We only want it to fill in the shadow areas of that face. We need to position it in a way that's going to be pretty much not directly opposite, but in a different direction to our main light. So if we have a main light up here coming down onto our subject's face, we might place a reflector over this side, just bouncing that light back into here. We don't put it in a 180 degrees from your main light because if we did, my fill light will be back here and it would be inflicting on the back of my head, which is going to be pretty much totally useless. So generally about 90 degrees from main light is where our fill lights should be. So if we're shooting with this light coming down onto my face here, they are reflected would be about here, reflecting that light back onto my face. This way. We can also place our fill light a little bit lower than MAN light if we want to, because we're not worried about that predominant light being applied on the face. It's only supplementary light. So we can fill in that light a little bit more under the chin and under the nose and the eye. Just a little bit, your brain's still going to be fine with it because this light up here is predominating. It's going to be the main light coming down so we can have a fill light a little bit lower and bouncing back up. So think about whether you're going to use your reflector as a main light or as a fill light because it does make a difference how you do it. And if you have an assistant holding your reflector, which is probably a good idea, school them in the way to do it. They need to hold that reflect her up behind their head. Look at this, look at the subject and move it around and to let light in exactly the right spot. Because it's very difficult to get that reflected light in the right spot. So an assistant needs to pay attention. It's no good having them standing there looking at the scenery or singing songs and looking at the gills going past, you need to make sure that your assistant is really concentrating and knows what they're doing. They need to keep that reflect a flat. Need to keep it aimed at the right part of that image. Because otherwise, your exposures are going to be all over the place and your lightings going to be very messy. 7. Other Uses: Now there are a couple of other ways you can use a reflector that a lot of people don't take advantage of. The first one is to use it as a top light blocker. So we can use the dark side of a reflector to hold over the top of our subject to block the light from above. Because we know that if we're shooting in daylight, most of the light's coming from above, which tends to give our subject dark eyes. So we want to drop that light down. We still want a nice soft light, but we want that light to come in at a lower angle to fill in those eyes and to make that light look more attractive. So if we use a reflector above our subject, we can block a lot of that light from above and a layer that soft light to come in underneath and get beautiful light on our subject's face. We're manipulating that light to give us open shade. The same situation we would have under the shade of a tree. The other thing we can do is place a reflector in behind our subject to create a plain background. We can have either a white or a black background, which will make the shot look like a studio shot. It will take distractions away from the background and create a cleaner image that's going to stand out a little bit more. So even though we're shooting outdoors, we can get a studio type image by placing that reflected in the background if it's large enough to do that with your subject. 8. Our Photo Shoot: Now these next few videos are the results of a shoot that we did at our local packs, B's point pack with a model sophie, to show you the versatility of using reflectors. There's a number of different options we've used here. So you can see all of the ways that we can use reflectors and probably a few extras that you haven't even heard of before. Now the day we had was fairly bright and fairly sunny. So was the most difficult situation to be shooting outdoors. But I love shooting it in sunlight because it makes my shots look more spectacular. I can get sunlight in the shot if I want to, or it can move into the shade if I want to. Most of these shots we use the 51 reflector, various different surfaces and we showed you how to use the reflector and when not to use the reflector. So have a look at these images in this video and the Y that we've used them. And I'll see you afterwards. 9. Live Shoot - What not to do: We're here at speeds Point Park today. We're going to use reflectors to light as subject. We've got a model, Sophie, who's going to be with us in a little while. We're going to use reflectors in various different ways. How reflector is a great tool if you're a natural light photographer, if you love using natural light or available light are reflected, conveyed the best friend you've got. So we're assuming today that we haven't done any flash, we haven't got any auxiliary lighting, was simply using the natural light that CIA and supplementing it with the reflector. So have a look at the things we do and you'll see the results that we can get. And you can do the same thing. Like I said, the first situation we're in here, I want to show you how not to use a reflector. I very rarely use reflectors in the sunlight. The reason is that they're just too bright. If I want to light up Sophie here with this silver reflector, you can say the reaction on her face and you'll see the shot that I get. We're not gonna do it for too long because we don't want to damage your eyes. But Ada, silver or white reflector, I'll show you both of these. And this is the reason why I don't like using them in the sunshine. Okay. Save. That's it. Just close your eyes so far. All right. Okay. Open them up again. Yeah. That's it. Good. Yeah. Just tilt their head a little bit to the side. Yeah. Yeah. Yeah. Okay. That'll do you can see how Sophie's really struggling to keep our eyes open because that light is so bright. We're gonna use a white reflector now and show the results is going to be very similar. Okay, so we've got the white reflector now on Sophie. It's still a little bit bright on her, not quite as bright as the silver, but we'll do a couple of shots and I'll show you. Okay. Here we go. So he opened his eyes. Yes, That's it. Good. Lovely. Okay. Good. That's great. Now, we're going to switch to the gold side of the reflector, which is something that I never use. I'm not a big fan of gold reflectors at all simply because they tried too much color into the shadow parts of the image. And it looks like it's two different colors in the image. Very, very rare situations. A gold reflector I would use, but really I don't use gold reflect is very much at all. So I will show you what the differences here. Okay. Same thing. That's it. Yep. Okay. Here we go. Yeah. Okay. Good. I think something happy. Imagine you not being blinded, kid. Yeah, that's it. Okay. Alright, that's good. You can see our surface face looks very yellow in that shot. I could correct it with my white balance within the background's going to go off. So I'd much rather use the natural color of the light. So I don't have any white balance issues or any color issues. 10. Live Shoot- Good Light: Okay, so now we've moved Sophie into the shade, which is a much better prospect for doing natural light. What I've got here is a large soft light source. I always shoot against the sun when I'm shooting in available light. So the sun's over behind Sophie. It's not going to cause a problem having any bright highlights on her. So she's facing towards the opposite part of the sky where the sun is. Now I need to look where that large light sources coming from. And in this situation, it's coming from mostly above us. So it means that that law is going to be coming down fairly steeply on the side of his face. So horizon's gonna be reasonably dark. So this is another situation that I don't particularly like to use available light or natural light. I'll show you some better situations in a minute, but I'll take a couple of shots here so you can see. Okay. So if it's good, just looking straight at me. Great. Tip maybe turn your face though for me. Yup. Eyes to me still. Yeah, that's it. Great. Maybe getting undressed your shoulder against that a tree if that's okay. Yeah. Okay. That's good. Okay. Terrific. All right. Now we're gonna move slightly further back under the shade of a tree so that most of that light from above is blocked. This is where we call open shade, so that that soft light from that sky is dropped down. It's going to come in at a lower angle rather than up high and it's going to light. So if his eyes a little bit better. Now we've moved safely into the shade of a tree situation that we call open shade, where the canopy of the tree is blocking the light from above. But we've got some low soft light coming into light horizon little bit better. So we're going to choose a here and say the results that we get compared to what we did previously. Okay, That's great. So just looking at me. Yeah. Lovely. Okay. Maybe play with the hair with one hand here. Let's see. Here we go. The acute MI Yeah. Okay. Just do what shirt? Okay. Bubbling. That's good. I can see how surgeries eyes are much more visible in that shot because the light's coming on her face at a lower angle. Now we're gonna get our reflectors out and we're gonna play around with reflectors and show you the correct way to use reflectors in the shade. 11. Live Shoot - The right way: Okay, so we're using a reflecting, they are too light. Sophie, we've got that sun coming in behind her. And as you can see, Steve's got this reflected down to bounced light backup into Sophie's face, which is totally the wrong way to do it. Now when we're using reflectors, there are two distinguishing reasons to use a reflector. The first one is when we use it for a main light. And if we're using it as a main light as we are here, we need to have that light coming down onto surface face because your brain expects that light to come down. We don't want it to come up because it's going to look a bit gruesome and a bit unusual on her face. But most photographers hold that reflected down low because it's easier. It's simpler, it's easier to see the light, but we're gonna get applied on Sophie's face and it's not going to look as good. So if we're using the reflector as a main light, we would hold it up high. It's a bit more difficult to do. So your assistant has to work a little bit harder. And we're going to bounce that light down onto surface phase. Now the other way to use reflectors to use it as a fill light. If we're using it as a fill light, then it's just supplementing the shadows, is just lifting the shadows and little bit. In that case, we would have the reflector on the opposite side to where the main lights coming from. So having it down low up onto surface face would be fine because all we're doing is supplementing those shadows, filling them in a little bit. The main light is still coming down from the sky onto her face. Okay. So we're gonna take a couple of shots like this with the upright and you'll see what that looks like. Okay, here we go. Great. Stuff. Maybe turn your shoulders. We're in this way little bit more. Yeah. Ten you face back there way. Yep. And tilt over that way. Yeah, that's lovely. Okay. Now we can see when we're using that sort of reflect a system, we're going to get a broader catch light in the bottom of surface i then the top. And that's when we know that that LED lights coming from the wrong spot. Right now this is another reflect a syndrome that we have with a lot of photographers. And assistant needs to be an assistant. They need to be aware of what's going on all the time. As you can see, Steve's been told to look at his phone just to illustrate this issue. But how many photographers have you're seeing where they are assistants just holding a reflector anywhere and looking on their phone. They need to be aware where that light pushing into. They need to be aware of how that light working on the subject. So I'm going to SEC Steve and I'm gonna get another as assistant to help me out with this next shot. You might do that, might get Michael to hold the reflected this time they are very big role. Right now you can see that my new assistant, Michael, is holding the reflector up high to bounce that light down onto Sophie's face. He does wear a baseball cap with the sunglasses on it, but we're going to overlook that because he knows what he's doing. Okay. Just turn up face that way so as to me. Yeah. That's a great. Let me get the bag and just hold it in behind your bottom with two hands. Good. Chindia and for me here in small. Yeah. Okay. Wonderful. Thank you. Good. Alright. We're gonna move to a different spot near the end here a bit further. 12. Live Shoot - Light and Dark: All right, We're here in this dapple shade situation. The way to handle dapple shade is simply to turn your model away from the sun, just the same as we would in the bright sunlight. So we've got that doubled sunlight on the back of her and not on the front. We've got nice soft light coming in under this canopy so that it likes her up nicely and lights up her eyes. Now we've got a reflector in here. We're going to show you a few different ways to use this reflector. First of all, we're just going to use it to bounce a bit of light back onto the shadow side of her face. We'll do a couple of shots that way we're using the white side of the reflector. You on the other side of Sophie. Because it got it. Because the way here is they're going to get a face turned that way. That's okay. Don't worry too much about that, right? Some are just getting closer. Closer and closer yet. Drop it down a little bit. Yep. Okay. That's good. Okay. Here we go. Yeah. I was to me. So if you head to the chin down a little bit, yeah. Okay. Alright, that's good. Okay. Now what we're going to use is the black reflector. We're going to use the black side of the reflector to dark and one side of Sophie's face to give it a little bit more of a, of a shape. To throw one side into a little bit of shade just so that it makes our light look a little bit more natural and less flat. So I'm gonna do a shot without the black reflected there first. And then we're gonna get market and coming close with that black reflector just to show you that shade side of her face. Heavy, right? Okay. You guys saved ten interface little bit. Yeah. Okay. Yeah. Nice to me. Yeah. That's great. Okay. Moving close, Michael. I'm just doing a head shots. Ain't getting fairly close. Yep. Ran this while loop. Yeah. That's it. Okay. Good. Here we go. Great. Yeah. Yeah. Chin down a little bit more. Yeah. Great. So you can see the difference between those two shots. Just throws one side a little bit into shadow, just to give a little bit more modelling on her face and look a little bit more interesting lighting. 13. Live Shoot - Other uses: Okay, another use that we can put our reflectors to, it's using them as a scrim. So we can actually use that bright sunlight on Syfy space. But we're going to diffuse it by using a screen between the sunlight and side of his face. So in the situation here is quite difficult for cervical. She's got very bright light on her face from that sunlight. So I'll take a shot like that and then we'll get the scrim between the sunlight and Sophia's face and you'll see the difference. It makes a nice, softer light that we can get. Just looking at me so far, Yeah. Okay. Focus. Okay. That's great. Yeah. Just turn your face a little bit. Eyes to me. Yeah. Okay. That's it. That's good. You can see how difficult it is for. So if you're looking at the sun there, so we're gonna get Stephen front here. He's going to hold that light up. Yep. That's so much better. I'm going to need to reduce my aperture down because the sunlight is much darker and air because you've got that scream in place. So I was shooting it at 14 for those shots. I'm going to go right down to 5.6 for these ones. So it's quite a few stops of light. So if you go looking straight at me, It's great to turn and face a little bit. Yeah. Yeah. Great. Smile. Yeah. Okay, Good. Okay. You can see the difference that that makes. I wish I had it on my face at the moment, but that screen between the sunlight and surface phase just softens it down, looks so much better. Now we're going to use a reflector as a top light blocker, which means that we're going to use it to block the light from above that's coming down too dark and Sophie's eyes, and we're going to allow that light to come in underneath that top light blocker to create open shade for us. We don't need a tree to do it for us. We can create it ourselves with a black reflector. So I'm gonna get stave to come in, put that reflected over the top of Sophie's head. And we're going to drop that soft light down on Surface face. So it's going to look so much better. That's it. That's good. So I think maybe come forward a little bit more stuff this towards me. Yeah, that's it. Okay. Great. A Chilean for me. So if here right. Face that way. Yeah. Good. Yes. Miles. Yeah. Great stuff. Okay. All right. That's good. You can see the differences that makes just having that top light blocker in there. Now the last thing we're gonna do with a reflector, and it's something that a lot of people don't realize that we can do is we're gonna put it in as a background. You're gonna get saved to hold it in behind Sophie's head so that it looks like we've got a plain background even though we're shooting natural light outdoors in the middle of the park. Okay. So if you just stayed going a little bit more? Yep. Okay. Great. Nice to meet Sophie. Good. Yep. Face again though a little bit more. Okay. Here we go. Yep. Okay. Wonderful. All right. So you can see how versatile your reflectors can be. We've got a number of different sides we can use with their reflectors. They call them five in ones, but that can be used for so many more purposes. So you've seen the situations reviews today. You've seen what we can do. I'll see you in the next lesson. 14. Your Project: Now your project for this class is to create an image using a reflector. You can shoot people, you can shoot still life, close ups, macro, food photography, anything you want, anything that you're comfortable with, but use a reflector in that image in some way, either as a main light or as a fill light. You can use it any of the ways that we've talked about in this class, you can use any type of reflector. Maybe try using a colored reflector to see the results that you get. You may be able to manipulate a colored reflected to give you the results that look good. So give it a go posted in the project section so we can all have a look with a few words about the things that you did in issues that you might have come up against. And we'd love to see them. I'd love to see them all give you some feedback on every project that you post. And if you have any questions, please don't hesitate to ask in the discussion section. 15. Wrap up: So that's it. That's our class on using reflectors. Reflectors, as I'm sure you'll agree, can be amazing in your photography. You've seen some of the ways I've used reflectors. You've seen a video of me using the reflectors. I'm sure you can come up with ways to use your reflector differently to the ways that are fused mine. So get out there and give it a go. Particularly if you're an available light photographer reflectors can be amazing. Also if you don't have a lot of equipment, reflect is a very cheap, very easy, and very versatile. So you're reflect a can be your best friend. So get out there and give it a go and shoot some shots with reflectors. I'm sure you'll be amazed. I'll see you in the next class.