Light control is one of the most important aspects of photography. Whether you’re lighting a subject or creating mood through shadows, tools like grids can shape how your final image looks. But not all grids are the same, and subtle differences can affect the results in ways you might not expect.
Coming to you from Lindsay Adler with Adorama, this informative video breaks down the differences between black and white grids. Adler explains that grids are essential for narrowing the spread of light and controlling spill, making them a critical tool for precise lighting setups. While black grids are the industry standard, white grids are a newer option, offering subtle but impactful differences. One of the key findings in Adler’s comparison is the smoother transition to shadow edges that white grids provide. This softer edge, as opposed to the sharper transitions of black grids, creates a more gradual fall-off of light, which can give your images a more natural look.
Adler notes that the white grids also produce slightly more light spread, giving more coverage and lifting shadows just a bit due to the increased bounce light. This added spread can be helpful in smaller spaces where light naturally reflects off walls and ceilings. For those shooting in tight studios or with white walls, the white grid’s ability to reduce contrast and create softer shadows could be quite useful. On the other hand, if you want high contrast and pinpoint control, black grids remain the go-to option.
Adler tests the grids in several scenarios to demonstrate these differences. Using reflectors, she compares the grids with and without modifiers against a neutral gray background and a subject in a simulated small space. The black grid creates dramatic, isolated pockets of light with almost no spill. The white grid, in contrast, adds just enough spill to soften shadows and subtly lift the overall exposure in certain areas. Both grids have unique uses, depending on the effect you want to achieve.
For most setups, Adler emphasizes that the differences are not huge but can still matter for precision lighting. If you’re someone who enjoys fine-tuning your images or frequently works with grids, the white grid could be worth adding to your toolkit. For others, the traditional black grid will still handle most tasks. Check out the video above for the full rundown from Adler.
If you would like to continue learning about how to light a portrait, be sure to check out "Illuminating The Face: Lighting for Headshots and Portraits With Peter Hurley!"
