If your photos look flat, the camera is rarely the reason. It's how the light is shaped. Softboxes, umbrellas and scrims are the three modifiers we use most, whether we're in our studio in Long Island City or under the Manhattan Bridge in Dumbo. Here is what each one does and when we pick it.
What each modifier does
Softboxes
A softbox wraps a strobe or continuous light in a diffusion panel, which makes the light source bigger. The inside is reflective (silver or white, often textured), so the light bounces around in the box before it reaches the front fabric. That makes the light even across the whole surface, and it comes out soft and directional.
You can aim it. If you want light on a model's face and shoulders and not much on the background, a softbox does that. The fall-off from light to shadow is gradual, which is flattering. You can also feather it: point the box slightly past your subject so only the edge of the light hits them, and the effect gets softer still. For studio shots at Dante's Models where every highlight and shadow needs to be placed on purpose, we use a softbox.
Umbrellas
Umbrellas are quick to set up, portable and spread light everywhere. Shoot into a reflective umbrella (silver or white) and the light bounces off the curved surface back toward your subject. A shoot-through umbrella works as a diffusion panel, and the light passes through and spreads wide.
Because the light spreads so much, it hits the subject from many angles and fills shadows. The result is even and less dramatic. That works for full-body shots, group portraits, or lighting a big area fast. The downside is control. The light bounces off walls and ceilings, which can fill shadows for you or flatten the scene and add reflections you didn't want. In a big loft in Tribeca with high ceilings, an umbrella fills the room with soft light fast.
Scrims
A scrim doesn't make light. It reduces and softens it. You put a diffusion panel between the sun or a window and your subject. Scrims come in different densities, from sheer silks that take the edge off direct sun to heavier fabric that blocks a lot of light and turns harsh midday sun into something like open shade.
If you're shooting an outdoor editorial in Central Park on a bright day and the sun is giving you hard shadows and squinting models, a scrim fixes it. The sun is a small, hard source. The scrim makes it effectively much larger, so the light on your subject is soft and even with no strobes. It also cuts reflections and hotspots on shiny surfaces. For our outdoor lifestyle shoots and natural-light headshots, a good 5-in-1 reflector kit always includes a large scrim.
Side by side
Shape and catchlights
A rectangular or strip softbox gives a defined light source, so you get distinct rectangular or elongated catchlights in the eyes. Shadows have a clear but gradual edge, which lets you shape cheekbones and jawlines without it looking forced.
Umbrellas give less defined catchlights, often rounder and more diffused, sometimes several soft ones if the light is bouncing around. Shadow edges are softer and blend into the ambient light. That is flattering, but it can lack punch. For a dreamy look with little shadow, an umbrella works. For crisp fashion portraits, a softbox usually hits harder.
Softness
Soft light means the shift from highlight to shadow is gradual. The larger the light source compared to your subject, the softer it gets.
Softboxes give soft light that still has structure. Skin stays smooth and keeps its dimension. That matters for beauty shots and close-ups. For a beauty editorial in our studio for a client like Sephora, a large softbox is how we get skin to look luminous.
Large umbrellas can be even softer than a softbox of the same size, because the light scatters more. The cost is contrast and direction. Shadows can nearly vanish and the image can look flat. If you want a bright, high-key, airy look with minimal shadow, an umbrella is a strong choice.
A scrim in front of the sun gives the softest light of the three, because the source is so powerful and the scrim makes it look huge. It looks like an overcast day, even in full sun.
When to grab which
Softbox
We use a softbox when we need control and definition.
- Studio portraits and headshots: A large octagonal softbox (a 48-inch octabox) wraps light around the face and gives clean catchlights and smooth skin. It's our go-to for headshots at Dante's Models.
- Fashion and beauty editorials: A strip or rectangular softbox lets us place light precisely. We often use a strip box as a rim light or hair light to separate the model from the background.
- Product photography: A softbox keeps reflections controlled and the light even, and it cuts glare.
- Controlling spill: In a tight space, or when light can't touch part of the background, a softbox's directional light helps.
Umbrella
We use an umbrella for speed and broad coverage.
- Group shots: For several models or a larger group, say in Flushing Meadows-Corona Park, a large umbrella covers everyone without a complicated setup.
- Full-body fashion shots: A large umbrella lights the model from head to toe.
- Run-and-gun location shoots: It sets up and comes down fast. We often pair a shoot-through umbrella with a speedlight for portable soft fill in places like the Meatpacking District.
- Bounce fill: A white umbrella placed opposite the main light fills shadows without adding another light.
Scrim
A scrim is what we use for natural light in hard conditions.
- Midday outdoor portraits: In Prospect Park at noon, a large scrim turns harsh overhead sun into open-shade light and stops the squinting.
- Window light: If a big window gives strong, contrasty light, put a scrim between the window and your subject to soften it.
- Ambient light on overcast days: Even then, light can be a bit too direct. A light scrim smooths it out. We bring a range of scrims and reflectors to outdoor shoots in places like the Brooklyn Botanic Garden.
What we use
In the studio for fashion or beauty, we use a large Westcott Zeppelin Parabolic Softbox. Ours is 82 inches. It gives wrap-around light with a lot of control. For something more standard, a 36x48-inch rectangular softbox from brands like Profoto or Godox works for almost any studio setup.
On location, in Greenpoint or on Orchard Street for street style, we usually grab a simple shoot-through umbrella, often a 43-inch one. It's light and collapses small. Paired with a speedlight or a compact strobe like a Godox AD200, it gives soft fill or serves as a main light in a pinch. They're cheap and they work.
For natural light outdoors, we always carry a collapsible 5-in-1 reflector kit, mainly for the scrim panel. We often use a 5x7-foot scrim from Impact or Glow. It takes harsh sun and gives you soft, flattering light.
To shoot with us, book a photoshoot, or try our free photography tools at dantet9.com/tools.
Cover photo by Amar Preciado on Pexels.
Photo by Chris Gonzalez on Pexels
