Collapsible reflective or translucent umbrella for soft light diffusion on set. Silver coating reflects 85–92% light, white 70–80%; shoot-through umbrellas reduce light by 1–2 stops.
Technical Details
Umbrellas are manufactured in two main variants: reflective umbrellas with a silver (reflection value 85-92%) or white interior coating (reflection value 70-80%), and shoot-through umbrellas made of diffuse nylon fabric with a 1-2 stop light loss. They are attached via a central 16mm spigot with a spring clamp to a light stand. Parabolic umbrellas, due to their deeper curvature (focal length 60-120cm), achieve a more directed light characteristic than flat standard umbrellas. Octagonal umbrellas create more natural light reflections in the eyes than round models.
History & Development
The first photographic umbrella was developed in 1928 by Paul C. Buff for studio portraits. Film studios adopted this technique starting in 1942, beginning with Warner Bros., where cinematographer James Wong Howe used umbrellas for close-ups in "Yankee Doodle Dandy." Profoto revolutionized the market in 1968 with the first collapsible deep umbrella. Modern developments include focusable parabolic umbrellas (2008) and LED-optimized coatings with improved color rendering since 2015.
Practical Use in Film
Umbrellas primarily serve as fill light and eye light in dialogue scenes. In "Her" (2013), cinematographer Hoyte van Hoytema consistently used 120cm shoot-through umbrellas for warm character lighting. For exterior shots, umbrellas compensate for harsh sunlight – the typical use involves 2-3 large umbrellas as a light bank. Setup takes 2-3 minutes, significantly faster than comparable softboxes. Disadvantages: limited control over light direction and susceptibility to wind during outdoor shoots.
Comparison & Alternatives
Compared to softboxes, umbrellas offer broader, less controlled light distribution and faster setup/takedown. Beauty dishes produce harder shadows with more contrast. LED panels are increasingly replacing small umbrellas in documentary shoots but do not achieve the light output of large umbrellas. Kinoflo tubes offer similarly soft light with a rectangular characteristic instead of circular illumination.