The Real Difference Between Cheap and Expensive Light Modifiers

I get a lot of commentary on using expensive photo equipment, most notably lighting. Fair enough, a $400 softbox is not for everyone, and most people find it ridiculous to use a modifier this expensive. However, there are good reasons to use such tools. Here is why.

One of the things I set out to do when I started my photography journey is to stick around for as long as it is viable. I am in this for the long marathon, not a short sprint. So, it always made sense to invest rather than buy something over and over again. I did this for a while with camera gear: I would get lenses that were cheap. Since then, I have amassed a collection of cheap lenses that no longer work. This led me to believe that it is better to own one lens but a good one. This, alongside other reasons, is why I own fewer but higher-quality light modifiers.

My first-ever light modifier, if we call it that, was an umbrella from Amazon for around $15. It was a great tool that worked and did exactly what it should: diffuse light, make it softer, and provide a result I was happy with. This, paired with a Yongnuo 200W light, was my setup for a while. I would show up with those two things and do work. The reason I went with Yongnuo, by the way, was that it was cheaper than Godox. The most budget setup did the job, and very well so. Except that is what I thought back then. My eye was not trained enough to see the flaws, and even if there were problems, I thought that they were normal. Then, I managed to find a used umbrella from an expensive brand, which you can guess the name of, and my work changed. I didn't take better images, I didn't instantly become rich and famous (still not), but my work changed in terms of spending. I still own and use that umbrella.

Longevity

The first reason to invest rather than save on light modifiers is that an expensive light modifier is of much higher quality. It is made from higher-grade metal, the rods won't break, and the speedring won't get stuck the moment you try to take it off. Most, except for a few exceptions, are bought used. The single most used modifier that is also prone to breaking: my softbox, was bought used. By this point, I've used it hundreds of times, had it in the sun, overheated it with modeling lamps, thrown it, and had it fall from light stands. The softbox survived it all. The quality of the diffusion fabrics, Velcro, and reflective materials is just superior to anything a cheaper option would offer. Having handled a fair amount of both expensive and cheap softboxes, you just know this feeling when the material is thick and durable — when it sticks together perfectly every time and when you can throw it and not worry about it breaking. Fold it a thousand times, and it will be as good as it was the day you bought it. I say this, and I mean it. There are photographers using softboxes from the 90s that still hold up. In fact, I am looking at buying some myself.

The same can be said about hard modifiers such as reflectors. Back in the day, I owned a cheap reflector that got dents and scratches just from falling once or twice. At the same time, the more high-quality products are simply made from thicker metal, which is designed to withstand higher stress. You might ask why you should invest in a piece of metal that is designed to simply reflect light. I will answer. As soon as you get out of the studio and put it in a bag next to other modifiers, you will realize that it gets beat up really quickly. The shape of a reflector is really important, and if it looks nothing like before after a few on-location trips, you might need to repurchase the same thing. All this adds up to the cost of an expensive reflector very quickly.

Light Quality

The quality of light that you can achieve from expensive modifiers is second to none. First and foremost, they will be designed with efficiency in mind. Take two softboxes, one cheap and one expensive, and you will see for yourself that the reflective fabric is not as reflective in the cheaper one. Profoto does this really well with their softboxes, where the interior is reflective and textured to properly and efficiently bounce light around. It is more expensive to produce this, but the light output is far greater, which results in less power consumption.

The same can be said about reflectors. Depending on the individual reflector you pick, you can see that the surface inside of them is vastly different. Cheaper reflectors will simply not be as reflective and won't produce light as crisp as a pricier, high-quality option. I can bet you that you will start to care about efficiency when you go on location. The Profoto Clic Magnum excels at this. Designed for the Profoto Clic lights, this reflector is both highly reflective and also efficient in giving lights such as the Profoto A2 more output.

Ecosystem

Lastly, the thing that makes expensive light modifiers worth it is the ecosystem. Brands design their modifiers to work primarily with their lights. Companies such as Briese take it a step further and make the technology so that it only works with their products. The same can be said about Profoto, Broncolor, and Elinchrom. While Profoto-Elinchrom is a great light combo I need to try out, I am honestly quite satisfied with how Profoto lights work with Profoto modifiers and Broncolor lights with Broncolor modifiers. The ecosystem goes further once you start talking about things such as hard reflectors. A softbox is a softbox, and it is designed to simply diffuse and soften light. A hard reflector is specifically for creating light patterns. As such, you can't use Profoto hard reflectors on flat-front lights if you want the exact result. To mitigate this, I purchased a dome for my B1X, which improved the outcome.

Closing Thoughts

As you can see, there are a number of valid reasons to invest in high-end light modifiers. Be it quality, durability, or light output, these are factors that are important to me as a professional working photographer. I simply can't afford to have a modifier break on set, as that would stop the shoot and slow down the creative process. At the end of the day, it is the creative process that matters, and good tools help to make that process faster and more enjoyable.