Should you use a softbox, or an umbrella? Even though they serve similar purposes, which is to provide a larger light source (thereby softer light), there are several key differences between a softbox and an umbrella.

Softbox

This is the ideal light shaping tool for portraits, because of its versatility in controlling light spill. If you are shooting inside a small room, a softbox enables you to control the spill of light. This means that the subject (the person or object you are photographing) is illuminated in soft light, while the background (walls/ceiling/floor) receives minimal, if any, light spill or light contamination. This is useful for shooting portraits that require a darker or even pitch black background. Yes, you can even create a pitch black background without the use of a black backdrop.

A softbox makes creating flattering portraits very easy. You can use it as a key light, fill light or even a hair light. It all depends on the lighting conditions at the location you are shooting.

There are several types of very portable softboxes that you can get. Get the largest one available, as it produces the softest light.   The softbox has 2 baffles to filter and soften light even further.

Umbrella

The umbrella’s distinct advantage is portability and mobility. You can bring several umbrellas on an outdoor shoot without any inconvenience. When opened, they provide beautiful soft light, by converting your light (speedlight or a more powerful monolight with battery pack) to a larger light source.

What the umbrella lacks in comparison to a softbox is control of light spill. When used indoors, an umbrella lights up a large part of the room, decreasing your control over how dark your background can be.

There are also different types of umbrellas.

A shoot-through is a translucent white umbrella which your light shoots through and onto the subject. The umbrella shaft is pointed away from the subject, thereby reducing any chances of it accidentally injuring your subject.

The other type is a reflective umbrella, where your light shoots into, and then bounces back onto the subject. This type of umbrella inevitably has its shaft pointing at the subject, so you can’t really go in as close as a shoot-through umbrella would allow. The closer you get to the subject, the softer the light. As the light wraps around the subject, it reduces harsh shadows.

“It’s not what you look at that matters, it’s what you see.”

– Henry David Thoreau

While Thoreau did not say this about photography, it’s about the best advice you can give to someone in our profession.

Photography is not about pressing a button on a camera. It is about telling a story — communicating what you see when you look at your subject.

Same Subject, Different Stories

Different photographers can photograph the same subject but tell a different story. This is true for all types of photography.

For example, let’s say you are a sports photographer covering a basketball game. The game is very close; there is a lot of excitement in the game and on the sidelines.

As the clock winds down, another photographer might focus all his attention on the court. But you spot a player on the sidelines, waving a towel to cheer on his team, that captures the emotion of the game even better.

Or let’s say you are hiking in the mountains and see a stream surrounded by lush vegetation.

Another photographer might go with a wide shot, but this seems boring to you. So you find an interesting rock formation to place in the foreground, providing contrast and giving a stronger feel for where you are.

Or perhaps you decide to go with a detail or macro shot instead. Why photograph a whole tree when a single leaf tells your story?

Training Yourself to Notice

• We should always be looking for pretty light, interesting juxtapositions, leading lines and other visually stimulating subjects.
• At the same time, we should always be looking for stories to tell.
• Peer inside a building with unusual windows. See if someone is looking out, or reading a book, or painting.
• Walk through an old cemetery. Maybe you’ll find someone pressure-washing the headstones.
• Drive alongside a long, winding white fence. Perhaps you’ll come across a horse being fed by its owner.

Always be observing. Always be looking for interesting subjects, and thinking about what elements would make your photos even better.

The more you do this, the more often you will come across these elements — because you have trained yourself to notice them.