Photography / Buying Guide

B&H Wedding Guide: Choosing Umbrellas and Softboxes


When working with flash lighting, it is rarely the case that bare-bulb flash is the ideal choice for lighting subjects, especially when those subjects are wedding participants and your objective is to create inviting and flattering light. Flash can be modified in a number of ways, which all effectively diffuse and redirect the initial light source into a broader, more aesthetically pleasing source that is ideally suited for creating interesting and controllable light.

Softboxes and umbrellas are two of the most frequently used light modifiers, and both work to soften and diffuse light by spreading the initial beam to create a larger source of light. Both of these modification methods are generally portable solutions that can be adapted to a range of light types, from external camera flashes to the most powerful studio flash packs.


An umbrella is one of the most simple and straightforward flash modifiers, and as such it is one of the most versatile. There are two basic styles: the reflective umbrella, in which the inside of the umbrella is directed at the subject, and the shoot-through umbrella, which is made from translucent white fabric and whose outside is pointed toward the subject. Both umbrellas have their benefits, depending on the type and quality of lighting desired and the distance of the subject from the light source.

Reflective Umbrellas

Reflective umbrellas are designed to have the flash fire into them, reflect and then bounce the light onto the subject. The umbrella expands the size of the light source, and the resulting light has a broader, softer quality compared to a bare flash. Reflective umbrellas have an opaque covering on the outside to prevent light from passing through and escaping. This ability to contain the light makes it a more efficient light source than  a plain white, translucent umbrella through which light passes. Reflective umbrellas can also have colored interiors, such as silver and gold, to brighten or warm the light to better suit the subject.

For shooting weddings, a gold-lined umbrella will help warm skin tones and give people a healthier look, but may also affect the color of the wedding dress itself. Silver-lined umbrellas will help intensify the quality of light with little or no color cast. A plain white umbrella with a black backing will offer the most neutral color of light, but compared to the metallic-lined umbrellas, tends to diffuse a bit more and reflect a bit less.

Shoot-Through Umbrellas

Shoot-through umbrellas work to broaden and soften the light source and create a more pleasing overall quality of light than the bare flash itself. They work in the opposite way that reflective umbrellas do. Shoot-through umbrellas are constructed from translucent white fabric through which the flash passes to produce soft, seamless light. The benefit of working with a shoot-through type of umbrella is that you can place it closer to your subject—the ability to place your light source closer to your subject produces a softer light, which is especially well-suited to wedding photography and portraiture.

Umbrella Shapes and Sizes

In addition to the choice between reflective or shoot-through umbrellas, size and shape are determining factors. Generally speaking, the larger the umbrella, the softer the quality of the light it will reflect, but at the expense of requiring a more powerful light to fill it. Then again, you might not need a 7-foot umbrella for single or couples portraits. Conversely, however, if you're working with larger groups of people, then larger and multiple umbrellas are the most suitable choice for modifying your flash output.

The final consideration when choosing an umbrella is its shape: either regular, parabolic, or a combination of a softbox and an umbrella. Regular umbrellas, true to their name, feature a standard convex shape made of triangular panels, fold up compactly, and are available in a wide range of sizes from 20” to more than 7’. A parabolic umbrella resembles a traditional umbrella, but has a more rounded profile. These umbrellas, which are typically larger than regular umbrellas, are designed with more panels in order to produce a focal point of light. In turn, the light produced by a parabolic umbrella has a distinctive wrapping quality that can appear more natural than light from other umbrella shapes. The umbrella/softbox configuration is a hybrid between a softbox and an umbrella, and blends the characteristics of both types of light modifiers together. They exhibit the traditional shape and form factor of an umbrella, but have a front diffusion panel to fine-tune control of light output.


Softboxes are also used for softening and increasing the size of a smaller light source, and diffuse light sources not unlike umbrellas—with a few notable differences. A softbox controls the shape and direction of light more than an umbrella and prevents more light spill from occurring. Softboxes, since they are generally rectangular, also have the advantage of being able to produce natural-looking light by mimicking the shape of a window.

Just as with umbrellas, softboxes are available in a variety of different shapes and sizes and can all be employed to suit the subject matter. A larger softbox will produce softer light, but will also require greater light output to sufficiently fill the entire softbox. If you're shooting with a handheld camera at a wedding, with a flash on- or just off-camera, a smaller softbox makes an ideal companion for easily diffusing light on single subjects at a closer range. With groups or full-body shots, larger softboxes or multiple softboxes are a more viable option for accomplishing soft, even lighting. As a general rule of thumb, the size of a softbox should be approximately the same size as your subject; meaning a head shot or half shot could require softboxes in the range of about 18” to 24”, whereas full-body shots could require multiple softboxes in the 48” or larger range.

Aside from different sizes of softboxes, different shapes also allow one to alter the quality of light. This can be especially apparent when photographing people from closer range, since the shape of the light source used can often be seen in the reflections in their eyes (called "catch" lights). Soft boxes are available in a variety of shapes such as rectangular, square, octagonal, or long, thin strips. Less common shapes are hexagonal, parabolic and round. The effects of each of these shapes can be applied to the specific subject, and can be used in combination to develop a well-rounded image that reaps the benefits of such. Additionally, similar to umbrellas, different interior surface types are available—silver or white—and will alter the quality of the light output. A silver lining will give a more specular appearance with greater contrast and light transmission, while a white lining is ideal for maintaining neutral colors.

Umbrellas versus Softboxes

Both umbrellas and softboxes are a viable means of softening the quality of light from a bare bulb or unadulterated flash source, and both can be used quite effectively for producing flattering light that is well-suited for capturing wedding events. When deciding between the two types of light modifiers, certain considerations should be taken to choose the best option. Umbrellas are typically the more portable option of the two, since they can break down to a small, thin size fast, but softboxes are great for replicating window light. Both can be unwieldy to use in windy conditions without sand-bagging your light stands. The light quality from umbrellas and softboxes is also somewhat different, even though they both work to soften and broaden the light overall. Due to their inherent forms, a softbox will produce a wider, flatter, and more even type of light that lessens the intensity of shadow edges and has less directionality than umbrella light. An umbrella’s curved shape will produce light with more apparent directionality and more pop to the edges of the shadows.

Becoming familiar with both types of modifiers will increase your options for creativity, and being able to pair one or the other to the specific subject matter will result in the most effective solution for transforming the quality of light from a standard flash. A combination of the two is sometimes the best option in order to show versatility and to pair the flash light source with the existing ambient light.

For more information about umbrellas and softboxes, speak to a B&H sales professional at our New York SuperStore, over the phone at 1-800-606-6969 or online via Live Chat.

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Thank you, as always B&H hits it out of the park informative article. 

Lighting is a little intimidating to me.  Since I am basically learning on my own, this information is invaluable to me.  I did purchase a 7' parabolic umbrella and the results that I have gotten at the event that I shot were beautiful as I was expecting.  What I learned reading this article was that the umbrella extra panels makes the light more panels which produces a focal point of light. . . which has distinctive wrapping quality that can appear more matual thanlight from other umbrella shpaes.   Also, regarding softboxes which was a mystery to me was the benefit of having the same size soft box as your subject.  That was a tremendous help because I didn't know what size to get.   Thank you so much for this informative lesson.

Janice Kendricks

An excellent article, very useful in explaining the specific techniques and reasons for using the equipment.

Accuracy of language is always important, especially in a technical article.

"A silver lining will give a more specular appearance with greater contrast and light transmission, while a white lining is ideal for maintaining neutral colors."

Obviously no light is transmitted through an opaque silver lining.  The light output is GREATER because of the higher reflectivity of the silver vs the translucent or opaque white lining.  Is there an implication that a silver lining imparts a color cast to the subject that the white lining does not?

Thank you for contributing to the science of the photographic arts.

Lots of useful information on light modifiers. This article would be perfect if we can see a comparison of white vs silver umbrellas and softboxes.  

Sergey Zh

excellent indepth information with absolute clarity


what is missing is a series of images, side by side, of the same object, photographed with the diferenet lightings; a few softbox shapes and sizes and a few umbrellas. there is a limit on how text can help in explaining in these cases.

Can't say enough about the importance to protect your modifier from Wind.  Sand Bags are important, but an assitant is better.
Anything to make you look better, work easier and have more fun doing what you love to do for a living. 

Thanks Bjorn for the update article,
Chris Lo Bue
CLB Photography

Great....Short overview..

Very interesting. In a few sentences you describe something that was not clear to me.


Nice article, helps to clarify concepts and purposes such as the how/when/why, etc. each should be used. Next, please add beauty dishes: tie them into the whole scheme of things so that we can understand how/when/why they should be used, or not used. Thanks, Bjorn!

Thanks for the great information.