These days, a softbox doesn't have to be expensive - you can get good results for $100 or even less. But what if there is a way to make it much cheaper, with the same effect?

Lesson details

• Difficulty: medium
• Completion time: 24 hours
• Requirements: see equipment list below

Final result

These days, a softbox doesn't have to be expensive—you can get good results for $100 or less. But what if there is a way to make it much cheaper, with the same effect? This is what I will explain in this lesson: How to create a softbox that gives you professional results for less than $20.

Step 1: What is a softbox?

A softbox is a light modifier option used specifically for studio portraits or outdoor portraits. It creates soft diffused lighting by directing light through some kind of diffuse material. The light is reflected from the inner walls, which are covered with a shiny surface, usually aluminum foil, and from a white diffuser sheet.

It can be used with pulsed and continuous light sources. The main purpose of a softbox is to create soft and uniform lighting, often used as main lighting. It is also important for lighting in the studio, where every millimeter of light space matters.

Step 2: Materials Needed

To assemble the softbox, you will need:

• Large piece of cardboard
• Adhesive tape
• Aluminum foil
• Velcro
• Bolts and nuts
• Roll of paper (per at least, 40" wide x 50" long) (approximately 100 cm x 130 cm - approx. per.)
• Black spray

Step 3: Drawing and measuring

This tutorial explains how to make a 30" x 25" softbox. (≈ 76x64 cm - approx. per.), but this method can also be used to create a softbox of any other size. Just remember the proportions to get it right.

First of all, you need to draw the 4 sides of the softbox in a trapezoid shape. The first two sides will be large and the other two will be short.

The bottom of the trapezoid should be 30 inches (76 cm) long. The side walls are located at an angle of 45º. The top of the trapezoid should be the same size as the long side of your flash head, in my case it was 3 inches (7.62 cm). Then repeat the process from the beginning to make the second larger side piece of the softbox.

Now it's time to make the short sides. The bottom is 25 inches (63.5cm) long and the top matches the short side of your flash head. The angle isn't that important in this case, it's a little more than 60º, but to make things easier, just use the side lengths of the larger side pieces you made earlier.

Step 4: Cutting out the four walls

Now that you have four sides of the softbox - two large and two small, it is time to carefully cut them out. Be sure to leave a small amount of cardboard at the top, about 2-3 inches (5-7 cm) long, to secure the flash. Cut out each piece and set the finished pieces aside.

Step 5: Making the Interior

Once you have everything cut out, use glue and cover each cardboard piece with aluminum foil (but only on one side). You can use aluminum strips around the edges to secure it more securely. This part will reflect the flash light, making it more powerful. To be on the safe side, use two layers of aluminum foil, just to ensure that the whole structure will last longer.

Step 6: Add Velcro

Now take two short walls - the ones with the short part at the top - and tape two strips of Velcro to them. One large, about 6 inches (15 cm) and one short, about 2 inches (5 cm). Also attach them with a stapler and a double layer of adhesive tape for greater security. These two Velcro strips will keep the flash from falling and keep it stationary.

Step 7: Gluing and Installation

If everything is in order, it's time to assemble the softbox. It's very simple. First take big side, then a small one, then a second large one, and finally the last one remaining. Glue them together using glue and tape, large quantity glue and tape, secure each part so that it does not fall off.

Don't forget to also tape the top part where the flash is inserted. Good way To check that everything is assembled properly, lift the softbox by holding the top. If he doesn't move, everything is fine. If it is loose and unstable, add more duct tape until everything is secure.

Step 8: Painting

After waiting a few minutes, you can paint your softbox for a much more professional look. Use old newspaper and duct tape to protect the parts you don't want to paint, like the top hole. I used black spray paint to make the process a little easier. Once it's dry, add another coat of paint and then leave it to dry overnight.

Step 9: Creating and Configuring a Tripod Adapter

When your softbox is almost ready, it's time to make a tripod adapter. Take the L-shaped aluminum bracket and place it with the long side on the softbox. Punch a few holes in the softbox, right in the center of the short side. Then, using the bolts and nuts, install the bracket and screw it down, making sure it is secure and does not move.

To use this bracket, you also need to have a light stand and a light stand mount with a swivel head, both of which are easy to find on eBay for as little as $10, for example. The easiest way to install a softbox on it is to carefully insert the short part of the L-shaped bracket into the flash mount.

Step 10: Create a Diffusing Panel

Now it's time to install the diffusion panel made of paper. Unroll the paper roll on the floor, place the softbox on it and carefully glue the paper to each side. You can also add multiple layers if you want to make the light much softer and more even. Remember that the more layers you add, the less powerful the light will be.

Of course, if the paper comes off, you can always repeat this process later.

Step 11: Installing the Flash

Finally it's time to mount the softbox on the stand and then insert the flash into the hole. To do this, hold the flash gently and insert it into the hole, pressing gently until it is firmly seated. Secure it with Velcro.

The reason we use the flash horizontally is to provide more flexibility in moving the softbox. You can point it down, up, or at a 45º angle, for example.

Step 12: Final Result

All you need to do now is take some test shots with your new softbox! It creates a wonderful soft light and allows you to illuminate the whole person. I always use it in the studio as my main light, not needing anything else.

It's great for creating dramatic portraits if you place it to the side of your subject, or for portraits with soft, diffused light. Below are some examples. The first one uses only a softbox, to the right of the camera, at full power. This results in a frame with high contrast. The other two are made using a softbox as the main source, along with two uncoated strobes, one on each side as edge lighting.

Try it!

Beauty dishes, softboxes, stripboxes, reflectors, umbrellas of all types and sizes, ring flashes, etc... It's a little like choosing a new car - there are many options, but which one will suit your needs?

beauty plate

A beauty dish helps highlight facial details and skin texture. It is often used for fashion photography and makeup photography.

There are two types of beauty plates: with a silver surface and with a white surface. Silver gives a slightly harsher and more contrasting light, and white gives a softer light. They also vary in size; 40 cm, 56 cm and 70 cm are considered classic.

A small disk inside the dish reflects light back to its surface, meaning that no direct light falls on the subject. Also, when using this modifier, you get a beautiful reflection in the model’s eyes.

Cup reflector

The basic option is the standard bowl-shaped reflector that comes with a studio flash. There are reflectors of different sizes and depths for different lighting qualities. They are generally suitable for hard, direct light.

High-contrast light with clear shadows will appear on the model's face. If you want to take a soft portrait, this reflector is not for you.

This is a small modifier that you can use to play with shadows. By pointing it at a white wall, you will get diffused lighting, and the wall will act as a large reflector.

Photo umbrella

There are many different shapes and sizes of umbrellas on the market. The big advantage of a photo umbrella is that it can be quickly set up and does not take up much space when folded.

A silver umbrella is useful for hard and contrasting lighting. A white umbrella placed between the model and the flash softens and diffuses the light, filling the studio with soft, natural light.

The silver umbrella with diffusing fabric is a mixture of both options. The silver side creates contrasting light, and the diffusing fabric softens.

Ring flash

Ring flash creates even illumination without visible shadows, a beautiful reflection in the eyes of the subject and a barely noticeable halo in the portrait. It can be used in combination with other light sources.

Softbox

Softbox is a classic light modifier that also comes in different configurations and sizes: square, rectangular, octagonal, etc... Softboxes also come in silver and white. The larger the softbox, the more diffused light you will get.

Stripbox

A stripbox is a long, rectangular softbox that can be used to produce less shadow than with a square softbox.

A very long stripbox casts light on a long, narrow area, such as a full-length portrait, while creating less shadow than a square softbox.

In conclusion, there is no right or wrong choice when it comes to a light modifier. They're just all different. The best one for you will be the one that matches the intended effect in the portrait.

How many light sources are needed? Which company should you choose? Which technical specifications pay attention?

Let's understand these issues!

* I’m not a fan of technology and I don’t get a kick out of purchasing it. I need exactly enough AI to solve filming problems. Therefore, this article is NOT for advanced techies.

What does the artificial light kit consist of?

The most popular food photographer artificial light kit consists of:

— pulse monoblock (flash);

— light-shaping attachment (softbox);

— racks;

— synchronizer.

The pulse monoblock is installed on a stand, and a softbox is put on it.

Now let's look at the issue of selecting each element separately.

Pulse monoblock (flash)

The main criteria for choosing a pulse monoblock are: power, color temperature consistency, weight.

For food photography, a maximum power of 200-300 J is sufficient. My flash has a power of 200 J, which is enough for me with a margin.

It is important that the flash produces light of the same color temperature each time it fires. For cheap models, it is sometimes written in the specifications that the color temperature may differ (for example, 5600K±200K). This means that with the same white balance settings in the camera (not auto mode), one time the photo may come out with a blue tint, and another time with a yellow tint. This makes it difficult to process images, especially when there are a lot of them. More professional flashes have a constant color temperature. The picture always turns out the same in white balance.

If you plan to work with a pulse monoblock on the road, pay attention to its weight.

You can also pay attention to the “recharge time” characteristic. It affects how quickly a new shot can be taken after the flash fires. This setting is important when shooting continuous scenes with movement. The shorter it is, the better.

Softbox

In 99% of cases, photographing food requires soft, diffused light without harsh highlights or shadows. Therefore, of the possible flash attachments, a softbox is most suitable.

The main criteria for choosing a softbox are: shape, size and ease of assembly.

The purpose of artificial light in food photography is to imitate light from a window. Therefore, the softbox should be similar in size and shape to a window. Therefore, rectangular and square softboxes are most often used.

An octobox (octagonal softbox) is also suitable for shooting, but it produces a different shape of glare on reflective surfaces.

A stripbox (a long, narrow rectangular softbox) is not suitable for food photography because it produces too narrow a stream of light.

How to choose a softbox size?

In my experience, the larger the softbox, the better. A large softbox makes the light more diffused, and therefore more similar to daylight.

Now I have a softbox measuring 110*90 cm, and I’m happy. Previously it was 60*80. The light was harsher and was not enough for bright shots with a large number of objects.

It is better to buy a softbox and a pulse monoblock from the same manufacturer, so that there are no problems with their docking.

Synchronizer

The trigger is a small device needed to fire the flash when you press the shutter button on your camera.

There are two types of synchronizers: radio synchronizers and infrared synchronizers. Radio synchronizers are more reliable and modern.

The simplest radio synchronizer consists of two parts. One fits onto the camera's hot shoe, and the other attaches to the flash.

Example of an inexpensive synchronizer

The most advanced synchronizers look something like this.

An important characteristic of the synchronizer is excerpt, on which it allows you to shoot. The disadvantage of cheap devices is the most short shutter speed will be about 1/125 s. Expensive synchronizers allow you to shoot at 1/250 s and even more. I recently saw a synchronizer that allows you to shoot at 1/8000 s! This setting is important for shooting shots with movement.

Another difference between expensive synchronizers and cheap ones is availability of additional functions, such as changing flash settings remotely.

In my opinion, the synchronizer is a part of the kit that can be saved on if necessary. I use an inexpensive radio trigger and it has worked great for over two years of heavy use.

When purchasing a synchronizer, make sure that it is compatible with the flash and your camera.

Usually a sync cable is sold complete with a pulse monoblock. This is the wire that connects to the camera and flash and ensures synchronization. Its main disadvantages are that it limits freedom of movement and does not fit all cameras. The camera may not have a suitable connector.

Rack

The stand seems to be the simplest part of the kit. But the stability of the entire structure and the safety of expensive equipment depend on it, so it is also worth choosing seriously.

The main criteria for choosing a rack are:

The stand must be designed to support the weight of your pulse all-in-one with the softbox attached.

In food photography, stands are most often used with a minimum height of about 80 cm and a maximum of about 200 cm. These settings are suitable for shooting on a table or on the floor.

If you plan to work with artificial light on the road, pay attention to the weight of the stand.

How many light sources are needed?

A beginner photographer only needs to buy one set of AI. You can shoot most scenes with it, because when we photograph with natural light, we usually have one window. Multiple light sources are needed for more complex lighting designs that are not used as often.

Manufacturer selection

Manufacturer's choice is one of the most complex issues for beginners.

According to my experience and the experience of my colleagues good companies— Raylab, Bowens, Hensel, Elinchrome, StudioPro, Profoto.

My AI set

Monoblock Elinchrom D-Lite 2 RX 200 J

Softbox Elinchrom 90*110 cm

Elinchrom stand 88-235 cm

Radio synchronizer Grifon RT-04 (I'm going to change it to a more advanced one)

P.S. I don't recommend buying the cheapest equipment because it comes with a lot of problems (e.g. inconsistent color temperature, quick breakage of stand mounts, etc.). I had the cheapest light, it was extremely inconvenient to work with.

Softboxes are becoming more and more popular accessories for modern photographers. And manufacturers, naturally, adapt to consumer needs and expand the range of softboxes they produce. Today we want to talk about softboxes for on-camera flashes. They are produced in different types. Which one should you choose? Which one is right for you?

First of all, of course, you need to find out what kind of softboxes exist in general, what functions one or another of their many models has. Well, and then choose from all this variety the softbox that you need and need. So, let's start to figure it out slowly and in order. First of all - with the most important parameters of softboxes.

Fastening

There are two types of mounting a softbox on a flash: directly on its head or using a special bracket on a stand.

You can install small softboxes on the flash itself. Large ones require special separate mounting.

Those softbox models that are attached to the flash itself allow you to use it without removing it from the camera. Why is this good? And the fact that in this way we retain all the functions of the flash, namely TTL, HSS, rear curtain shooting and everything else. Softboxes large sizes, requiring separate fastening, also require separate synchronization. In these cases, you cannot do without a TTL sync cord or a radio synchronizer.

There is one more thing that needs to be said here. There are no large softboxes attached directly to the flash itself for one simple reason: do not forget that mounting this accessory in such a way assumes that the flash is mounted on the camera. And if it is located on the camera, then it means the lens is located directly under it. And if your softbox is large enough, then it will simply interfere with the lens. Well, or the lens will interfere with the softbox.

There are several types of softbox mounts for flashes.

The first, simplest one is on the so-called “Velcro”. Velcro is glued onto the flash head, and then the softbox itself is attached to this Velcro. Unfortunately, this method cannot be called the most convenient and the best. After all, by sticking Velcro onto the flash, you spoil its surface. And, besides, you won’t be able to put this softbox on another flash. At least until you buy a new Velcro.

The second type of fastening a softbox to a flash is a gel-based mount with an elastic band. The softbox is pressed against the flash head with a gel base, and then tightened on top with an elastic band. This type of fastening can perhaps be safely called one of the most universal. This type of fastening is very simple, and, unfortunately, not the most reliable. But, nevertheless, if you don’t shake the camera very much during operation, then for a shooting day, for example, for a photographer shooting at a wedding, a mount of this kind may be quite sufficient. During this time, we think the softbox will not slide off the flash. And you don’t need to count on more.

The third type of fastening is fastening using a special adapter. And this mount cannot be called the most reliable and versatile. But this minus is more than compensated by its plus: the fact that this adapter allows you to install not only a softbox on the flash. Manufacturers have developed several sets of special accessories for detailed adapters.

Unitarity is the main disadvantage of adapters. The fact is that there are almost a dozen types of these devices. They are designed to fit different flash head sizes. Simply put, if your flash is not the most popular and popular model, then choosing an adapter for it will be very problematic. In some cases, it will even have to be modified.

Attaching the flash directly to the softbox

This is how softboxes are attached large size. Until recently, there was only one mounting option of this type - through the flash shoe. But, alas. With such a mount a whole series shortcomings. Which? Well, for example, if your synchronizer is quite large in size (at least Yongnuo YN-622C Canon E-TTL II), then such a flash mount simply will not allow you to place it as necessary.

And during reportage shooting, a softbox placed on a handle specially designed for this purpose, when moving on such a lever, can even damage the flash shoe, which is already experiencing increased loads.

Until recently, softbox mounts were exclusively on the flash shoe. But a few months ago, models finally appeared on sale that are mounted not on a shoe, but on the flash head. We would call this type of fastening more natural. After all, it captures the flash much more clearly.

Why are we so confident in the naturalness of such fastening? Here's why. Let's try an experiment. Take your flash in hand. Well, how did you get it? Surely, purely intuitively, you grabbed it by the head, as it was both convenient and safe.

Unfortunately, today softboxes with such a mount are supplied to Russia only for Grifon flashes. It’s also good that in addition to the softbox, you can install many other accessories on such a mount, for example, an umbrella or some other attachment that has a Bowens mount. This is a reflector, a beauty dish, and similar light modifiers.

Please note that in this mount the flash synchronizer will be located on its hot shoe. Considering that the synchronizer itself is 5-10 times lighter in weight than the flash, this will not give a critical load when moving.

Screen size and shape

Based on their shape, softboxes can mainly be divided into two large groups: octoboxes and quadroboxes. The former have an octagonal shape, the latter are quadrangular or closer to a square. There are softboxes and round shape, but they are quite rare. Round softboxes are mostly small.

The shape of the softbox screen first affects the shape of the glare it creates. And this glare is reflected in shiny objects that fall into the frame. Such objects, for example, could be a model’s glasses, glass from windows or shop windows, reflective surfaces of cars, and much more. In some cases, the shape of the softbox can even be seen in the pupils of the subject's eyes. Of course, if the photo was taken on good level quality.

And the size of the softbox primarily affects the softness of the light. Everything here is very, very simple. The larger the reflective surface, in our case it is a softbox, the softer the light it gives. But still, to be more precise, the softness of the light pattern is affected not by the size of the reflective surface itself, but by the ratio of these dimensions to the size of the object being photographed. If we explain this in popular language, then we can give the following example. Let's say you're photographing a teacup for an online store. If you first shoot it with a softbox measuring 10x15 cm, and then with a softbox measuring 15x20 cm, you will immediately see the difference in the pictures. But if you, with these same two softboxes, take turns filming a person in full height- you will practically not feel the difference in lighting.

In general, experienced professionals advise shooting portraits with softboxes with a screen size of 40 cm or more. This can be a quadbox 40x40 cm or an octobox with a diameter of more than 50 cm.

Types of softbox dome designs

Three of these types can be distinguished.

The first of these is the umbrella design. There is no need to tell how such softboxes work - this is clear from the name itself. Experts consider the umbrella design of a softbox to be the most successful. It allows you to unfold and fold the softbox quite quickly. Due to the fact that nowadays there are more and more girls among photographers, the amount of effort required to bring a softbox into working condition is far from the least of its working properties. And for representatives of the stronger sex, the speed of deployment and collapse of equipment is also important. After all, sometimes you have to film very quickly.

Softboxes from Westcott and Phottix have an umbrella design among the softboxes supplied to Russia today.

The second type of softbox dome design is the Twist Flex design. This type of softbox unfolds like a light reflector. A hard springy hoop is inserted into each of its sides. This hoop gives the softbox rigidity and allows it to be rolled up without much difficulty. When folded, this softbox easily fits into a small handbag.

The third type of softbox design is the so-called regular softbox. Companies that today produce equipment for studio photography produce special adapters that allow you to install a regular studio softbox on spokes on an on-camera flash. On the one hand, this is very convenient precisely because the same softbox can be attached to both a studio flash and an on-camera flash, but, on the other hand, big problem This is where the compactness of the softbox itself and the efficiency of operation in general turn out to be.

We told you today about softboxes that are produced nowadays for on-camera flashes. The leading positions in the Russian photo accessories market today are occupied by softboxes from companies Grifon, Fujimi, Falcon Eyes and several other manufacturers. The softboxes of all these companies are very different both in their quality and in their design. If you need more detailed and thorough information on photo accessories, we advise you to contact specialized companies and stores, including online stores. Well, for example in Photogor. Usually they don’t refuse help there.

I would like to think that the information presented in our article today was useful to you and gave you some food for thought. Now you have at least a little knowledge of the various models of softboxes for camera flashes, and you can choose the accessory that is right for you and is right for you.

The main condition for obtaining a high-quality image is the right light. To have it even outside the studio, equipped with special lighting equipment, photographers use softboxes. In this article we will try to understand what a softbox is and how to choose one.

A softbox is a flash attachment used to create soft diffused light. Externally, this device is a structure consisting of a dome and a screen, which are called a reflector and diffuser. The diffuser is usually made of white fabric, and the shape of the reflector is chosen to ensure uniform illumination of the diffuser.

A softbox does not replace studio lighting, as some people believe. In principle, it is impossible to get a studio picture, because the effect of studio lighting and flash is completely different. But this device makes it possible to achieve soft shadows and image clarity in shaded areas, which has a beneficial effect on the quality of pictures.

Studio equipment manufacturers offer different types softboxes. Let’s look at the main parameters of these devices to make it easier to make a choice when purchasing:

1. Screen size and shape.

There are several types of softboxes:

• quadboxes are almost square devices;
• octoboxes - octagonal devices;
• stripboxes are narrow rectangular devices;
• round softboxes (usually small).

The shape of the screen determines the shape of the glare that will appear in the frame, reflected in glossy surfaces, and the size of the device determines the degree of softness of the light: the larger the softbox, the softer the light. In addition, the ratio of the size of the device to the dimensions of the subject is important: for portraits it is better to take a 40x40 quadbox or an octobox with a diameter of 50 cm; small objects can be photographed with a softbox of significantly smaller sizes.

2. Construction of the dome.

There are devices with domes:

• standard form with adapters for on-camera flash - simple and convenient;
• in the form of umbrellas - easy to use, versatile, compact;
• type Twist Flex - with flexible hoops, like in children's tents, which bend and allow you to fold the device into a small bag.

Which option to choose depends on individual preferences.

3. Type and type of fastening

Mounting can be carried out on the flash head, as well as on a stand using a bracket. Mounting to a flash in most cases implies the ability to use the device without removing it from the camera and maintaining all the functions of the flash. Larger fixtures require additional mounting and separate timing.

Types of fastenings:

• on Velcro, which is glued to the flash - securely, but you can ruin the coating and it’s inconvenient to move it to another flash;
• on a gel tape with an elastic band - quite convenient and reliable;
• mounting on an adapter is convenient, since you can install additional equipment, but it is not particularly reliable, and not every adapter is suitable for a specific flash.

Large softboxes are usually mounted through the flash shoe. But such a mount can interfere with the placement of the synchronizer, especially if it is large. Recently, softboxes that attach to the flash head have appeared on the market. They are very comfortable and capture the flash well.

With this information, you can quickly navigate the variety of existing models and choose the optimal softbox for the job.