Well the truth of the matter is that like everything else in Photography there isn't a correct answer.  It's really a preference and although this preference does make the subject look and feel different, you can't really say which is the right way or which method is the correct use of equipment.  It's like lighting, could you say Loop lighting is correct and Rembrandt is wrong?  You can't... it's a style and a method which can be applied in any circumstance.

Even with that said though you could say that there are times when certain equipment is more often used then others (maybe you can consider that to be the reason to consider it to be the correct answer but I wouldn't).

Generally speaking an umbrella has a wider light spread than a softbox, and this is true whether you are choosing to use a shoot through umbrella or a reflective umbrella.  With softboxes, the distance of the light falloff is much shorter.  Umbrellas generally give a greater contrast while softboxes like its name, gives you a softer effect that softens even the shadows.

One general characteristic you will find in umbrellas that is not as problematic compared with softboxes is to do with "hotspots".  With umbrellas you tend to get "hotspots" (where lights concentrate in the middle of the area lit), and with softboxes because the light is more contained by the way it spreads (due to the construction of a softbox and the diffusor), you tend to get a more even light on the lit area (the downside is greater light falloff (meaning greater distances between the light and subject will have significant drop in light).

I have seen people use softboxes to light up a close up portrait and then again I have seen people use an umbrella to do the same with the similar amazing results.  Once you have experience with softboxes and umbrellas you will understand that you can't really categorize one for certain specific scenario because it depends on many variables you are shooting for.

Ex. I would never use umbrellas to shoot products, but I have seen people use umbrellas to shoot products.  I never use a softbox to light a face (mainly because I believe the contrast which an umbrella gives to shadows sculpts a subjects face giving it much more definition than a softbox), but I have seen many great photographers light up a face with a softbox.  The only time I may use a softbox to light up a subject's face is probably during a glamour shot for a cosmetics ad.  In this case I want the skin to be smooth and shadows and dark contrast may not be something the client wants.

In this photograph of Bloomberg Anchor Susan Li, the photo was shot with a Photek Softlighter II.  This umbrella is often used by celebrity photographer Annie Leibovitz and that especially during the Louis Vuitton Campaign shot by Leibovitz.  The Softlighter II is a bounce shoot through umbrella.  The main reason for it's popularity is due to its short light falloff distance, and the softness it produces while retaining a strong contrast between shadows and highlights. 

Tags ( photek softlighter II umbrellas softboxes bloomberg susan li )

This entry is more about the background then it is the foreground.  If you ever get hired for a full body photo shoot you will find out that the background lighting is just as important as the foreground lighting.  One thing that it is much more simpler is that there are only a few things to spot for background.

(1) Even exposure

(2) Hot Spots

(3) Under Exposure

In today's world of digital photography, all of the above can be fixed by a little photoshopping, but I always believe that it is better to get it right in camera than it is trying figure a quick fix in post.

Shoot in ratios (1:2)

To make this as simple as possible.  Light the background 2 stops higher (I only go around 1-1.5 stops, don't like to stretch my limit) than you would with the foreground.

Ex. Foreground = F10, Background F16

Why?

Google "Inverse Square Law" = Double the distance = 1/4 lighting.  So distance of your background to your camera matters.  Meaning lighting the background to what you think is the exact metering of your foreground will be infact underexposed in your camera due to different distances between subject and background.

Now that you get this idea, what should you use to light a backgound?  If possible something with a wide spread like a large umbrella or a large softbox.

Why?

No matter what you use the light modifier will still have hot spots and a slight uneven spread of light.  The hot spot will always be in the center and as you reach the outrim of the light you will see a softer dimmer edge.  So the trick here is to fill the background with lights so that there is minimal eveness.  My two cents is, for a medium shot, two lights (left and right) will do, but for a full body shot you will need a minimum of four lights just for the background.    Some people think that if you use a bigger softbox that it will illiminate this problem.  It does help but you will still see a difference in lighting in your background.  In post just pull the exposure down and you will see.

Note

Remember when using more lights on your background that you should try to move your subject as far away from the background as possible (8-10FT).  If not possible, you can try blocking the flare or spill from the background light with a large black matte board of any kind from both sides behind the subject.

Fallacy

People think that with modern technology anything can be done with post editing, but there are somethings that can be fixed or done without the proper variables (ex. light, space).  If you have a 100 sq ft. room there is no way you will be able to get a full body extremely sharp portrait of a average size adult with a super white background.  The environment of your studio just will not allow that not to mention you would probably have to go pretty wide on your lens which will most likely warp the exposure. 

 *A shot like this (model is sitting down) would probably still need a space of minimum 250 sq ft.  Remember, equipment and tools take up space as well, and not to mention the photographer will not work will if he is backed up against a wall trying to fit in that full body portrait.)

While I sound like I know what I am doing, I am sure referring you to a seamless expert wouldn't hurt neither.  Zack Arias is very well known for doing seamless white portraits. Go check it out!

http://www.zarias.com/white-seamless-tutorial-part-1-gear-space/

Tags ( white seamless full body Photography lighting softboxes umbrellas inverse square law )

The other day, as I was browsing for some new gadgets in SSP, just as I was about to make a purchase some kid (probably a university student) comes over and asks me for some advice.  The first question he asks...

(1) Excuse me sir, but will this (a small size light stand) be enough for my 580 EX II?

Always willing to help, I replied... "Yeah it should be enough, mind you though it does not hurt to buy a slightly bigger stand because there may be a chance that you will use lightshaping tools with your speedlite and it may not be strong enough to support some heavier lightshapers."

The young man then asked.  "What are lightshapers?"

I replied "well depending on what you are shooting and your own preference but most common is adding a shoot through umbrella."

Then the young man asked. "What does an umbrella do?"

I then replied (starting to get slightly impatient because I needed to go to the next store to check out the new Dis from Godox). "Well there are several ways to use a shoot through umbrella.  You can bounce a light and reflect the light to a subject or you can shoot through it hence the name "Shoot Through Umbrella.

The young man then continued to ask.  Well why are some of them silver?  and why are some of them white?

I replied. "Well silver is for a more contrasty look which in the meanwhile still gives you a more diffused effect.  So it's great if you are using it on a speedlite because you don't have much power to work with or waste.  White shoot through on the other hand is probably the most handy umbrella and what most beginners start with when they start using umbrellas due to the convenience/price and the ability to use the umbrella in different ways."

He then thanked me and I approached the counter to pay for the 2 new 30x90 strip banks that I just bought.  Suddenly the young man appeared next to me again like Yoda and asked.

"Well I am trying to shoot something outside and from a low angle (don't ask me what it was, I didn't want to know).  Firstly do I need to use a speedlite?  and secondly, if I use an umbrella how should I set it up so I get the best lighting for my portrait."

Wow, what a question I thought.  I might as well shoot the thing for him.  Some of you prosumers or photographers reading this blog post may say "Why bother answering his questions, it's most likely he has never used a light before and the more you explain the more complicated it will be for him to get his photo.

You are probably right about this and most likely I am assuming that he did not get the photo he is aiming for.  However, if you think about his questions, they are not stupid questions at all.  These are the questions that make camera owners into photographers.  Separating the truly passionate from the trendy camera owners.  You ever see someone on a street with like old crusty Canon 400D or 350D with a stock zoom lens but yet they shoot amazing photos?  I have.  These photographers took similar questions and not that they found an answer but took the risk to make the mistakes and learn from them.  That is photography, many experiences that give you good experience.  Good photographers are people that most likely have failed a lot more than beginners (ironic eh?).  But what makes a Photographer a great photographer is someone that is willing to take a number of shots after shots of "bad" photos, and practise their technique until they find (not the 'correct' method) their own style.

My last words to that young man was.  Photography is not as difficult as you think.  You are seeking my help today because you think I am more knowledgeable or more skilled than you, but I can answer your questions only because I have failed more than you and attempted failure more than you.  Have fun with your camera and remember if the photo comes out "poorly" that it can only get better if you let yourself understand what was wrong with it.  He then thanked me sincerely and left the shop.  I'll probably won't recognize this guy again, but if he gets what I am saying maybe I will bump into him next time at the same shop and it will be him looking for a strip bank.

Tags ( henri cartier bresson umbrellas soft box strip bank 580EX II canon 350D 400D camera shop Photography photographers )