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Anything Can Be a Light Modifier for Portraits with a Little Creativity

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3 Wonderful Flash Modifiers Every Photographer Should Have One

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What Are Parabolic Light Modifiers and Are They Worth It?

Parabolic light has become increasingly popular among fashion and portrait photographers. With so many options to choose from, a photographer may get lost or not understand the modifiers at all.

Parabolic softboxes, umbrellas, reflectors, and so more. Which ones make sense and which are just phony? In this article, we'll explore what parabolic lighting is and why it’s awesome.

These are expensive modifiers commonly produced by Broncolor and Briese. They are renowned for their unique light quality. I took Broncolor's Para light shapers for a spin to see what the fuss is all about and see for myself if this modifier is with you.

In short, true parabolic modifiers are incredibly versatile light shaping tools. I recommend renting them and trying them out, but make sure they are true parabolic. Read further to see what I mean by this.

What Is a Parabola?

In simple terms, a parabola is a curve at any point on which is the same distance from a focus point and a fixed line. This is a shape that is defined mathematically and a modifier can only truly be called parabolic if it follows this exact shape.

If it does, the light produced will be very crisp and, depending on where you set the focus, will either have great contrast or be very broad. Moreover, this shape is hard to replicate accurately as it required precise manufacturing and extensive R&D to get precisely what is needed.

It is much easier to make a parabolic- looking modifier. Those are commonly softboxes or umbrellas that claim to do the exact same thing as more expensive truly parabolic modifiers.

Faux Parabolas

Before I explain the magic of real parabolic light, I must warn and slightly upset anyone who is looking at parabolic umbrellas or softboxes. Unfortunately, those aren’t real parabolas.

A parabolic light modifier is one that follows the principle of a parabola for the whole length.

For example, let’s plot a parabola in Desmos and try to fit an image of a softbox that claims to be parabolic.

As you can see, we can’t fit the shape of this softbox to a parabola. Although they visually look similar, they will work in a completely different way and the laws of light won’t be the same as with true inverse parabolic modifiers.

I would stay away from buying parabolic-looking softboxes and umbrellas as they are a mere waste of money. Although they claim to produce deep light that is parabolic, all they do is take up valuable space and work inefficiently. Moreover, octa boxes of the same size will be more efficient and cost a lot cheaper. Just compare the amount of material needed to make a useless parabolic softbox and a simple octa.

True Parabolic Light -- It’s Awesome!

Let’s discuss why parabolic light is a must to try or even buy. There are many advantages to it, but the biggest one if of course versatility that comes with the sliding focusing rod system that Briese and Broncolor offer. This control allows to completely change the light quality with a simple slide.

Importantly, parabolic light modifiers won’t work with flat front lights such as Profoto D or B series or Speedlite. As the whole modifier has to be illuminated at once, a flat front will become inefficient and probably won't produce the same high-end result as a flash head with an exposed tube.

Para Positions Bit by Bit

Fully Zoomed In

Starting at the most zoomed-in position, the huge Para 222 is able to provide a focused beam of light that has a size similar to that of a small hard reflector. However, unlike a hard reflector, the Para still being a large light source the light coming out of it is incredibly soft. Soft but with dimension.

HMUA: @karinajemelyjanova
Styling: @bertabagi
Model: @aliz.lehrner @facemodelmanagementhungary
Post-Production: @justlike_magic

The vision for this first image was to capture a mysterious look that would be quite harsh and dramatic. Drama naturally implies contrast and uneven illumination. The stylist chose looks that were dark which added to the mood.

Using the Para 222 zoomed in, I was able to achieve this while keeping the skin tones flattering. This is best seen through the textured canvas backdrop as well as the model's clothes that have volume. Lastly, the belt and earring detail is brought out efficiently by using parabolic light focused completely.

3/4 Zoomed Out

While not completely focused, the beam is already wider. Here, the light has a fairly rapid falloff which is great for the image I had in mind. Although I used a grey background in a studio with black walls and ceilings, it is not visible at all due to dramatic falloff.

I imagined this image to have just that: dramatic falloff where the cheekbones are clearly visible with major shadow/highlight contrast. Playing around with the positions on the Para, I noticed that this is the best focus position for the result in mind.

HMUA: @karinajemelyjanova
Styling: @bertabagi
Model: @aliz.lehrner @facemodelmanagementhungary
Post-Production: @justlike_magic

Half-Way Zoomed Out

In situations where even background illumination is required, a half-zoomed-out para is a great choice. In this image, my goal was to have an even image, while still retaining much of the contrast in the clothes. At the same time, the light had to be soft.

Due to the large size of the Para, the softness was taken care of, while the contrast was provided by the rapid falloff characteristic of all true parabolic modifiers. As the light was so even, I wanted to add some fuzziness to introduce drama and really give the image even more dimension.

Despite me putting gels in front of the lens to create flare, there is still clearly visible detail due to the very crisp light that is produced by the Para at all positions.

HMUA: @karinajemelyjanova
Styling: @bertabagi
Model: @aliz.lehrner @facemodelmanagementhungary
Post-Production: @justlike_magic HMUA: @karinajemelyjanova
Styling: @bertabagi
Model: @aliz.lehrner @facemodelmanagementhungary
Post-Production: @justlike_magic

Fully Zoomed Out

This position is also unique to parabolic modifiers as it lights up only the edges of the modifier creating a soft three-dimensional light with contrast. This is best used when you want to photograph shiny surfaces or metal.

HMUA: @karinajemelyjanova
Styling: @bertabagi
Model: @aliz.lehrner @facemodelmanagementhungary
Post-Production: @justlike_magic

In this image, the goal was to create a light that would accentuate the models’ garments. Those being largely reflective metal or plain black demanded that I get light that would reflect from the metal surfaces from a wide family of angles.

As said previously, a fully zoomed-out parabolic modifier acts like a series of hard reflectors, because the light comes from so many directions, I don’t have to worry about camera placement to capture the reflections. You can clearly notice how every detail is reflecting in its own way. This same effect would be a lot more challenging with modifiers such as hard reflectors or octa boxes.

Closing Thoughts

I love light, and the Para is my newly found love that I am ready to propose to. What it offers is incredible versatility and efficiency in delivering a wide range of results. The joy of using a Para is that you can play around with the light in order to get the precise result.

These modifiers offer room to play and really get the light you’re looking for. There isn’t really a wrong way to use a Para as long as it’s producing what you want. Being able to change the light completely with a simple slide is already enough to seriously consider renting a Para. The only drawback my newly found love has is of course the price.

Three major manufacturers of true parabolic modifiers, Briese, Broncolor, Parabolix, all price them very highly. I know for a fact that I will be renting Paras a lot, but I will probably not buy one until I find myself renting it for every single job. But by all means, I strongly suggest organizing a test shoot and renting out a Para from your local rental house. They’re some of the best modifiers I've gotten my hands on!

About the author : Illya Ovchar is a commercial and editorial fashion photographer based in Budapest. The opinions expressed in this article are solely those of the author. You can find more of Ovchar's work on his website and Instagram.

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Are Expensive Light Modifiers Worth It?

There have been thousands of articles written about cheap and expensive lights, cameras, and lenses. To me, the light is not as important as the modifier.

In simple terms, the thing that you put on your light determines the results you will get. Do more expensive modifiers really produce better light or is that just a marketing stunt? What edge do they have over their cheap counterparts?

If you’re in business, it’s generally a good idea to ask yourself if the purchase is worth the investment. Getting the best value for money is never a bad thing. When it comes to light modifiers, there is a huge range of price points: from cheap $5 umbrellas to $10,490 Profoto Giant reflectors. With the range being so vast, it is very easy to get lost and inevitably buy the wrong thing.

Photographers often believe that the cheap modifier is as good as the more expensive counterpart. But that isn’t always the case, in fact, cheap modifiers often end up more expensive if they break and you have to buy a new one. I believe that modifiers should be the most expensive item in your lighting kit. Buying the best you can afford is the right strategy when it comes to light shaping tools.

In this article, I'll outline a few reasons why I save up for the best modifiers.

Light Quality

Lighting modifiers are paramount for giving out the correct light quality. There is a lot more thought that goes into making an expensive softbox than a cheap one. This mostly has to do with consistency. Materials used in a cheap modifier may warm up the light, or slightly cool it down. What is more, that can change as the softbox gets hotter.

I found that Profoto softboxes don’t change the light quality regardless of how long they are used throughout the day. For that reason, large-volume studios are equipped with them.

Another consideration regarding light quality is the way it interacts with the skin. This is a niche concept, however, it can become critical when you’re doing portrait work. The reflectiveness of the material may cause unwanted highlights on the skin, and the thickness of the diffusion fabric may be ineffective in diffusing the light enough. Often the silver interior of the softbox is poorly designed and leads to inefficient light output or unwanted results.

Durability and Longevity

The durability of expensive light modifiers is probably the biggest and most noticeable edge they have over their cheap counterparts. Most of my modifiers are used and for good reason. I don’t have doubts about the durability of a softbox if it’s made to last. In fact, my journey with buying used light modifiers(and other gear) has been nothing but positive.

I am, however, careful not to buy from rental studios, as they abuse their gear. My umbrella is an example of that, it works but clearly had a rental studio past. In all other cases, I find that big-brand softboxes are incredible even pre-owned. The materials used to make them are selected so that the modifier remains durable, and the quality of the modifier is good enough for daily professional use. So far I haven't had a Profoto modifier break, nor do I know anyone with quality complaints.

This comes back to the return on investment. For me, it is important to have maximum bang for my buck. I found that cheaper modifiers tend to break more easily. While tear can be somewhat repaired with tape, broken rods are a pain in the neck. For most big-brand modifiers, there are replacement parts readily available, but for the cheaper brands, it usually makes more sense to just buy a new one.

5 years down the line, you will be surrounded by cheap broken modifiers. In this case, investing more beforehand in fact saves you money in the long run.

Ease Of Use

Remember the last time you had to assemble a softbox? I am almost 100% sure that it was difficult. That’s especially true when you have to bend the rods so much that they’re almost breaking. And then, how many times did we all have the problem of assembling it wrong? I’ve seen some funny shapes and I’m sure you have too.

While the more expensive softboxes don’t come with a trained assistant who will always do it for you, they do have a few handy features. The most useful one is color-coding. With an octabox, it is simple, all rods in all holes. But with a softbox, let alone a stripbox, it can be quite confusing. This is not a dealbreaker, but it does make my job a lot easier and more efficient, so it’s worth it for me.

Another point to make relating to ease of use is client confidence. While this mostly relates to private clients, it’s always nice to have confidence in your equipment. This confidence translates to client confidence, which in turn helps you capture great photographs. An octabox that looks like it's about collapse on the client is never a good thing, I’ve had clients refuse a certain overhead setup for that reason.

Who Are Cheap Modifiers For?

There is a huge market for cheap modifiers. Not every photographer needs $10,000 worth of light shaping tools. Inexpensive umbrellas and softboxes are great for those starting out. Buying plenty of them for next to nothing can enable you to explore different light qualities. A 2×3 Profoto softbox is around $300, while a cheaper one is only $57. The price gap is huge, and that money can be spent on exploring light instead of being confined to one softbox. I'd recommend cheaper modifiers to photographers who are starting out with light and wish to explore it.

Don’t Worry If You Don’t Have Expensive Modifiers

If you can afford expensive modifiers, go for it, but don’t feel disadvantaged if your softbox doesn’t cost $300. The points I mention in this article may be relevant for some, but don’t feel stressed if your current equipment is not at this level. I am confident that most photographers who work with high-end equipment can take a similar picture.

Crucially, this article is centered around equipment, not how you use it. At the end of the day, it all comes down to your knowledge of light, your ability to understand it, and your skills in shaping it.

I know photographers that use bedsheets as diffusion and shoot only in natural light. They’re in business and their light kit is almost free.

About the author : Illya Ovchar is a commercial and editorial fashion photographer based in Budapest. The opinions expressed in this article are solely those of the author. You can find more of Ovchar's work on his website and Instagram.

#editorial #equipment #advice #cameragear #gear #interesting #light #lighting #lightmodifier #thoughts #tips