When I first started getting serious about photography, one of the biggest hurdles I faced was consistently achieving good lighting on the go. I’d often find myself in less-than-ideal locations, relying solely on available light or direct flash, which rarely yielded professional-looking results. The harsh shadows and uneven illumination were constant frustrations. Solving this problem wasn’t just about making pictures look better; it was about gaining creative control and delivering consistent quality for clients. Without a reliable way to shape and soften light, I knew my work would plateau, making it difficult to grow as a photographer. This challenge is what initially pushed me to look at portable light modifiers like the Westcott 2011 43-Inch Optical White Satin Collapsible with Removable Black Cover Umbrella.
- Easy to use and easy to carry wherever you need them^Reflects more light^Easy to assemble/disassemble, compact and easy to store
- Easy to use and easy to carry wherever you need them^Reflects more light^Easy to assemble/disassemble, compact and easy to store
- Easy to use and easy to carry wherever you need them^Reflects more light^Easy to assemble/disassemble, compact and easy to store
Considering Your Options Before Purchasing a Light Modifier
Before diving into a specific product, it’s essential to understand why you need a light modifier in the first place and what factors should influence your choice. Light modifiers, like photography umbrellas or softboxes, are tools photographers use to alter the quality, direction, and intensity of artificial light sources like speedlights or studio strobes. They transform harsh, direct light into something softer, more flattering, or more directional, solving common problems like harsh shadows, specular highlights, and uneven lighting on subjects or backgrounds.
The ideal customer for a portable light modifier is typically a photographer who works on location, whether it’s for portraits, events, or even small product shoots. They prioritize portability, ease of setup, and versatility. Hobbyists or photographers on a budget also benefit greatly, as these tools are often more affordable than larger studio setups. Someone who shouldn’t necessarily buy a simple umbrella might be a high-end studio photographer requiring extremely precise light shaping, maximum durability against wind, or absolute colour accuracy (though good umbrellas are generally decent). They might be better served by parabolic reflectors or high-end softboxes with grids.
Things a buyer needs to consider before purchasing include:
* Size: What’s the intended use? Larger modifiers create softer light but are less portable.
* Type: Umbrella (bounce or shoot-through) vs. Softbox vs. Reflector? Each has a different light quality and spread.
* Mounting: How does it attach to your light stand and light source (speedlight adapter, studio strobe mount)?
* Durability: How well will it hold up to travel and potential outdoor use?
* Portability: How small does it fold down, and how much does it weigh?
* Light Quality: Does it provide the kind of soft, even light you need?
* Price: Does it fit within your budget?
- 【65"/165cm Black/Silver Parabolic Reflective Umbrella】 This 65"/165cm deep parabolic camera umbrella softbox reflects a more intense and focused light, ideal for situations where you need to cover...
- (4) 1 x 33" translucent umbrella
- The translucent white umbrellas can be used either as a shoot through or bounce light to reduce shadows and produce an even, soft, low contrast light over a relatively large area
Presenting the Westcott 2011 Umbrella
The Westcott 2011 43-Inch Optical White Satin Collapsible Umbrella with Removable Black Cover is designed as a versatile and portable light modifier primarily for use with speedlights or small studio strobes. Its core promise is to provide photographers with an easy way to soften and control their light source, offering the flexibility of both bounce and shoot-through lighting in a single, lightweight package. When you purchase it, you get the 43-inch umbrella itself, made with an optical white satin interior, and a removable black cover that allows you to switch between shoot-through (without the cover) and bounce (with the cover) modes.
This specific Westcott umbrella is particularly well-suited for photographers who are just starting out with off-camera flash, need portable solutions for location work, or are building a budget-friendly home studio. It’s less ideal for photographers who demand absolute precision in light spread (given the potential size discrepancy), require extreme durability for harsh conditions, or exclusively use lights with specific, potentially incompatible umbrella mounts (as some users have found).
Here’s a quick look at its pros and cons based on my experience and common feedback:
Pros:
* Very portable and lightweight.
* Offers both bounce and shoot-through options.
* Relatively inexpensive compared to softboxes.
* Easy to assemble and disassemble quickly (mostly).
* Provides a nice, soft quality of light in shoot-through mode.
Cons:
* The removable black cover is fiddly and prone to detaching.
* Reported issues with actual diameter vs. advertised size.
* The black cover may not effectively block all light for pure bounce.
* Some compatibility issues reported with specific light fixtures (e.g., Westcott FJ series).
* Durability is typical for an umbrella – needs careful handling.
Diving Deep into its Features and Practical Use
Design and Portability
One of the standout features of the Westcott 2011 is its design focused on portability. Like most umbrellas, it collapses down into a relatively slim package. This makes it incredibly easy to transport, fitting comfortably into most light stand bags or even larger camera backpacks. The construction, primarily using aluminum or steel ribs and a fabric diffusion/reflective surface, keeps the weight down.
From a practical standpoint, this portability is a game-changer for location photographers. I’ve taken this collapsible umbrella on countless shoots, from indoor events to outdoor portraits. It sets up in seconds – just slide it onto a stand, pop it open like a regular umbrella, mount your light, and you’re ready to go. This ease of deployment is a significant advantage over assembling a softbox with rods and speedrings, especially when working quickly or in confined spaces. The included sleeve is basic but functional for keeping it tidy when collapsed. While the maximum height of 22 inches listed in some specs refers to its *folded* length, its operational height is determined by the light stand you use. Its light weight also means you don’t need a heavy-duty stand unless you’re pairing it with a particularly heavy strobe or using it in windy conditions (which umbrellas generally don’t handle well anyway).
Light Quality: Optical White Satin and Reflection
The interior surface of the Westcott 2011 43-Inch Optical White Satin Collapsible with Removable Black Cover Umbrella is made from optical white satin. This material is designed to produce a soft, even light quality. In shoot-through mode (with the black cover removed), you fire your light *through* the white satin fabric, which acts as a large diffusion panel. The result is a broad, soft light source ideal for portraits, minimizing harsh shadows and smoothing skin tones. The 43-inch diameter, while subject to measurement debate (which I’ll get to), is large enough to wrap light effectively around a single subject or small group when placed relatively close.
When used in bounce mode (with the black cover attached), the idea is that the light hits the white satin interior and bounces back towards your subject, with the black cover preventing light from spilling backwards. Bounce lighting generally provides a slightly punchier, more directed light than shoot-through, while still being soft due to the size of the reflective surface. The optical white satin surface is designed to reflect light efficiently and colour-neutrally, ensuring your light doesn’t pick up unwanted colour casts. I’ve found the light quality in shoot-through mode to be particularly pleasing for simple headshots or three-quarter shots. It provides a large, flattering source without the complexity of a softbox. It’s a classic look for a reason, and this photo umbrella delivers it reliably.
The Removable Black Cover: A Double-Edged Sword
Here’s where we get to the product’s most discussed feature and, frankly, its biggest frustration point for many users, including myself: the removable black cover. The concept is great – attach the black cover to use the umbrella for bounce lighting, or remove it for shoot-through diffusion. This versatility is a key selling point of the Westcott 2011.
The problem lies in the execution of how the cover attaches. It connects to the umbrella’s metal spokes via small fabric loops or ties (it uses little tabs that slot over the spokes near the ends). There are about eight of these attachment points. While this design allows for quick removal, it’s notoriously unstable. Every single time I open the umbrella with the black cover attached, at least a couple of the tabs pop off the spokes. This means that before I can even start shooting in bounce mode, I have to spend time meticulously reattaching these tiny loops to the tips of the umbrella ribs. If you’re in a hurry on a shoot, perhaps trying to catch a specific moment or working with impatient subjects, this quickly becomes infuriating. I’ve heard of photographers resorting to super gluing these tabs in place, essentially making the cover non-removable, which defeats the purpose of having a *removable* cover for versatility.
Furthermore, some users report that even when attached, the black cover doesn’t completely block the light shining backwards, meaning some light still spills out rather than being fully directed forward in bounce mode. This slightly reduces the efficiency and directionality compared to a true bounce-only umbrella with a more opaque backing. While I mostly use mine in shoot-through mode now precisely because of the cover hassle, the bounce option *is* functional if you can get the cover to stay put, providing a slightly different light signature. My long-term solution has been to primarily use it as a shoot-through modifier and only bother with the cover if I *really* need bounce and have ample time for setup fiddling. It’s a significant drawback that impacts the product’s advertised versatility.
Size and Specification Claims
The product is advertised as a 43-inch umbrella. However, a common complaint among users is that the true effective diameter is significantly smaller than this figure. As noted in one review, the measurement might be taken along the curve of the fabric, from tip to tip over the top, rather than the actual straight-line diameter across the open front. This method of measurement, while perhaps technically achievable, is misleading for photographers who understand that the size of the light source (its diameter) directly impacts the softness of the light. A true 43-inch diameter provides softer light than, say, a 38-inch diameter.
While I haven’t gotten out a tape measure on every shoot, I can attest that comparing the light spread to other modifiers, the effective size *feels* smaller than a true 43 inches measured across the front. This isn’t necessarily a dealbreaker, as 38 inches or even 36 inches is still a decent size for a portable modifier, but it does feel like a slight disappointment when you expect a full 43-inch source. It’s something to be aware of when considering this umbrella – don’t expect it to perform exactly like a modifier that measures a genuine 43 inches straight across. This potential discrepancy is important for photographers calculating light falloff and coverage area, especially for larger subjects or groups.
Materials and Build Quality (for the Price)
The Westcott 2011 is constructed using materials typical for budget to mid-range photography umbrellas, primarily Alloy Steel or Aluminum for the frame/ribs and fabric for the surface. The quality is adequate for the price point. The ribs are flexible, which is good for folding, but also means they can bend or break if handled roughly, especially in wind. The central shaft is metal and fits standard umbrella mounts on light stands and flash brackets.
Given that this is a budget purchase for many, the build quality is generally acceptable. It’s not built like a tank, but with careful handling, it should last a reasonable amount of time. The fabric seems reasonably durable, though like any diffusion fabric, it could potentially tear if snagged. The main area of structural concern, as highlighted earlier, is the connection points for the black cover, which feel flimsy. Overall, it feels like a tool designed for occasional or careful use on location or in a controlled studio environment, rather than something you’d subject to heavy daily abuse or challenging weather conditions. It aligns with the expectations for a portable, affordable piece of lighting gear.
Versatility and Use Cases
Despite the issues with the black cover and potential size discrepancy, the Westcott 2011 43-Inch Optical White Satin Collapsible Umbrella remains a versatile tool. It’s compatible with various light sources, including speedlights (via an umbrella adapter), small studio strobes, or even continuous LED lights with an umbrella mount. Its dual bounce/shoot-through capability, while hampered by the cover design, still offers options for shaping light.
I’ve used this umbrella for a variety of purposes. It’s excellent for portable portraits, either as a main light or fill light. I’ve used it to soften a speedlight on a stand for photographing events like parties or small gatherings. It’s also perfectly suitable for budget-friendly home studio setups for product photography or headshots. As one reviewer mentioned, it can work well for lighting backgrounds, providing a broad, even wash of light behind a subject for high-key effects. The ability to quickly switch (or at least attempt to switch) between bounce and shoot-through is valuable, allowing some flexibility in lighting style without carrying multiple modifiers. It truly is a workhorse for photographers who need adaptable light shaping without investing in multiple, specialized modifiers.
Compatibility Issues
One specific drawback highlighted by a user is a frustrating compatibility issue with some of Westcott’s *own* lights, specifically the FJ200 and FJ400 strobes. Apparently, the shaft of this umbrella is too large to fit into the umbrella mount built into these newer lights. This is a surprising oversight if true, as you’d expect Westcott’s accessories to be compatible with their own lighting systems. For photographers using these specific lights, this renders the umbrella unusable with their primary light source, which is a significant waste. It’s crucial for potential buyers to check the compatibility of this umbrella’s standard shaft diameter with their specific light fixture’s umbrella mount before purchasing, especially if using Westcott’s newer FJ line. While it works fine with standard speedlight adapters and older studio strobe mounts I’ve used, this reported incompatibility with Westcott’s own lights is a notable downside.
What Others Are Saying: Community Feedback
Having scoured online feedback from fellow photographers, it’s clear I’m not alone in my experiences with the Westcott 2011 43-Inch Optical White Satin Collapsible Umbrella. Many users appreciate its convenience, lightweight nature, and overall value, finding it particularly effective when used with speedlights for portraits or home studio projects. They value its compact folded size and ease of setup. However, the frustration with the black cover constantly detaching is a very common theme, with some users finding it annoying enough to modify the umbrella or simply avoid using the cover entirely. Questions or concerns about its true functional diameter versus the advertised size also surface, alongside reports of unexpected compatibility issues with certain light fixtures, including Westcott’s own newer models. The consensus seems to be that it’s a solid budget-friendly choice offering useful versatility, provided you are aware of and willing to work around its specific quirks, especially regarding the black cover attachment.
Final Thoughts on the Westcott 2011 Umbrella
In the world of photography, controlling light is paramount. Without the ability to shape and soften your light source, your photos can look amateurish, suffering from harsh shadows and uneven exposure. This is why having portable light modifiers is so important, especially for photographers on the go. The Westcott 2011 43-Inch Optical White Satin Collapsible with Removable Black Cover Umbrella offers a compelling solution for photographers needing an affordable, portable, and reasonably versatile tool.
Despite its flaws – namely the frustratingly designed removable black cover, the potential discrepancy in actual size, and reported compatibility issues with certain lights – its ease of use (in shoot-through mode), portability, and low price point make it a great entry into using light modifiers or expanding a portable lighting kit. It provides a soft, flattering light that’s a significant step up from bare flash. If you’re a beginner, on a tight budget, or just need a simple, lightweight diffusion source you can throw in a bag, this umbrella is definitely worth considering, provided you manage your expectations regarding the black cover. Ready to see if the Westcott 2011 43-Inch Optical White Satin Collapsible Umbrella is the right fit for your lighting needs? Click here to check it out.
Last update on 2025-06-16 / Affiliate links / Images from Amazon Product Advertising API