For more and more industries that require durable, flexible, single-use hand protection, disposable nitrile gloves are the leading choice. But the choice of material isn't the only quality that matters. The thickness of the gloves you're using can also be a major factor in how well they perform.

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In this tutorial from the good people at Videomaker, we take a look at the light differences between reflector, diffuser, and white board light.

It’s easy to think that disposable gloves don’t require much thought. After all, you’ll pull them on for a quick task and then take them off. In theory, any glove could do the job. In practice, though, various qualities of the glove will dramatically impact how it handles various tasks.

If you don’t already have a 5-in-1 reflector, stop reading this article and go buy one. There is no lighting tool more essential to indie cinematographers than a 5-in-1 reflector. The inside of a 5-in-1 is made up of a light diffusion fabric that can be used to cut light from a bright light source. They can be mounted to a c-stand or held when you’re in a pinch. I often use these diffusion screens when outside in direct sunlight.

A thicker nitrile glove, measuring 7 mils or more, would be unusually rugged for household use but could be well-suited to heavy-duty manual labor. (Our Dark Light black nitrile gloves are good examples.)

Diffusion paper is a great option if you want to soften your lighting up just a bit. The “paper” is usually clamped to the barn doors of a light. The result isn’t dramatic, but it is subtle enough if you’re trying to soften up the overall look. Some people use wax paper instead of diffusion paper to get the same effect. While this may work with LED lights, you shouldn’t use wax paper on a tungsten light as the paper can catch fire.

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Some umbrellas are made up of a white cloth and others are made up of a metallic material. Both are good and both can produce soft light depending on the material and the distance from the subject.

Nitrile glove thickness is generally measured in mils, where 1 mil = 0.001” gauge. A glove of 3 mil and below is considered thin. Gloves at 4 mils (like our HandCare blue nitrile gloves) or 6 mils (like our Advance Plus orange nitrile gloves) are considered medium thickness for nitrile gloves, ideal for those who need a balance of protection and dexterity.

If you’re shooting outdoors and looking for soft light, try to find some shade. Instead of diffusing the light, shade will completely cut off the main light source. Instead of being lit from the sun, your subject will be lit by light bouncing off of objects from all around you.

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Another option for getting soft light is to put your subject near a window. Windows produce incredibly bright and soft light and it’s not uncommon for photographers to use this light to their advantage. Filmmakers are a little more limited when it comes to window light, as light could possibly change as the day progresses. But if you need soft light quick, a window is a quick and easy way to do it.

A silk is typically placed on a separate stand between your subject and your light source. Silks can be large (up to 20 ft. x 20 ft.) or small. On a film set you will normally hear silks referred to by the size of the metal frame around them. Common sizes include 4×4, 6×6, 8×8, and 12×12.

In film, video, and photography, there are two big categories of light: hard light and soft light. You can easily figure out if your light source is hard or soft depending on the shadows. Hard lights will have shadows with very sharp edges, whereas soft light will have shadows with soft edges or no defined edges at all.

If you’re working in a boring office space or home (or if you’ve simply forgotten your softbox) you can always bounce light off of the ceiling. This technique essentially turns the entire wall into one big soft light. I typically use this technique if I want to light an entire room evenly. Just keep in mind you’ll need a powerful light if your room has tall ceilings.

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However, keep in mind that the thickness of a nitrile glove isn’t uniform. In fact, thickness changes depending on what part of the hand you measure.

There’s another popular lighting technique that’s been making its way through the filmmaking world called book lighting. Book lighting is essentially a double diffusion technique that always uses at least 1 silk. The trick with book lighting is to not have the physical light source pointed at your subject. Instead your light will bounce from one source then hit a silk. The result is a very soft glow.  Book lighting should be used if you want the softest light possible. Keep in mind: setting this up can take a while.

10 mil nitrile gloves are considered the thickest standard nitrile glove you can normally buy. You can purchase thicker nitrile gloves of 11 mil and above, but they are expensive, don't offer good tactile feel, and are hard to take on and off.

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How thick should nitrile gloves be? The answer likely depends on your industry. The right balance of tensile strength versus tactile sensitivity is impossible to determine without knowing the work you do.

The thing that makes a light either soft or hard is the relative size of the light source. A small source will be much harsher than a larger source. The best example of this is the sky. On a bright and sunny day your shadows will be incredibly sharp because the light source that hits you is (relatively) very small in the sky.

Nitrile gloves are generally made by dipping a hand-shaped mold in a vat of liquid synthetic rubber and letting it dry upside down. Since the fingertips are the lowest point, a little bit more of the material tends to pool there, making them the thickest parts of the glove. The wrists, in contrast, are usually the thinnest part of the glove.

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Keep in mind that the recommendations above are only general guidelines. The specific needs of your job might dictate a need for thicker gloves than standard in your field. If you have questions about your specific industry, reach out to your nitrile gloves supplier, who should be able to find the perfect glove for your situation.

A softbox is incredibly versatile on set, making it a great key, fill, or back light for your subject. The softness of the light produced from a softbox depends on the size of the face. In general, larger softboxes will produce softer light than smaller softboxes.

The thickness of any type of disposable glove can have a considerable impact on the kinds of jobs it can handle. It’s especially important with nitrile gloves, which are renowned for their durability but often used in jobs where flexibility matters almost as much. So how can you tell when you need a thin vs. thick nitrile glove?

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Unfortunately Zeiss discontinued their hand magnifiers. Nikon's are only sold in Japan, so you'd have to order from a Japanese eBay seller.

One type of light source is not better than the other. Both hard and soft lights have their own storytelling purposes in both film and photography. That being said, soft light is much easier to work with than hard light. This is for a number of reasons.

It’s important to emphasize the word relative size here. While a softbox may produce soft shadows on a human when 5 ft away, it will likely produce sharp shadows on a car. In ideal soft lighting scenarios there’s a direct relationship between the size of your subject and the recommended size of your source light. As your subject gets bigger, so should the size of your light source (if you want soft shadows).

This makes thick gloves a great choice for those with jobs that call for a great deal of puncture resistance (like medical professionals or industrial workers), chemical resistance (like lab workers or cleaning staff), or both. That’s because there’s more material that has to be torn through. Having more material in the way also gives nitrile disposable gloves a longer breakthrough time (i.e. the time required for a chemical to seep through it).

The fingertips are also usually the most important area for feeling the consistency, texture, and shape of whatever you're handling. That's one reason that thinner gloves provide greater tactile sensitivity.

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Umbrellas are similar to softboxes in that they are usually attached to a light source. Depending on the type of umbrella you are using, you can either shoot through the umbrella or bounce light off the umbrella onto your subject.

No matter what nitrile gloves you and your team need to get the job done, we offer a great selection that you can count on to tackle your biggest tasks. Our collection of nitrile gloves includes every size from extra-small to XXL - not to mention thickness options from 2 mils to more than 10 mils.

This doesn't necessarily mean that industrial grade gloves are lower quality or less protective than medical gloves. In fact, they're often quite a bit thicker and tougher, because the need for resistance to tears, abrasions, and punctures is greater when you're working with machinery.

First, soft light doesn’t draw attention to shadows as much as hard light. By nature, our eyes are drawn to points of high contrast. If you’re using hard lights, your viewer’s eyes may be focusing on other points in the frame other than your subject. Soft light helps make your subject look as good as possible by minimizing wrinkles and blemishes, which is incredibly important for commercials and corporate videos.

If you’re on an indie budget, you don’t necessarily have to buy a “professional” silk to get a similar light effect. Most of the time you can get away with just suspending a white sheet or shower curtain between your subject and the light source. Be sure to bring lots of sandbags when using silks. If the wind catches your silk just right, it might fall and hurt somebody!

It's a common misconception that the glove's material or thickness determines whether it counts as a medical or industrial grade glove. In reality, a glove's grade has much more to do with the level of quality control backing it.

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Thinner gloves also feel lighter on the hands, which is pleasant for people who stay in their gloves for a while, have sweaty hands, or only need a basic protective layer (depending on how the glove fits).

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Every great cinematographer has a deep understanding of the way light works. Unfortunately, many indie filmmakers focus way too heavily on the gear and not the actual image they’re shooting — especially when it comes to light. Let’s take a closer look at lighting and discover a few ways to create a soft, cinematic look.

If you’re looking for incredibly even lighting to add to your scene, a china ball is a great place to start. They’re incredibly cheap and the light they produce is just the right kind of soft. The only downside to working with china balls is the fact that they are hard to mount. But if you’re willing to work with them, they can give you nice soft light for very little money.

Any measurement of glove thickness is usually based on the thickness of the fingers. This makes sense, because your fingers will often have the most contact with various surfaces and are thus most susceptible to punctures and tears.

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This tutorial from Chan Ting Lin shows us a few techniques for using umbrellas to create soft diffused light. One technique mentioned in the tutorial is to use a gold umbrella if you are wanting to warm up the skin tones in your scene. The tutorial also compares reflectors, softboxes, and barn doors, so it’s a really good watch if you have time.

When shooting with hard light, it’s not uncommon to have to have your subject stay in a very particular place. But when shooting on soft lighting, you typically have more freedom for your subject to move around the frame.

One thing to look for when shooting in the shade is blown-out backgrounds. Because your subject will be out of direct sunlight, there’s a really good chance that your background will be incredibly bright. Just keep this in mind when framing up your shot. There’s also the chance that your lighting may change while shooting in the shade, so it’s best to shoot in the shade if you’re shooting a short scene.

A thin glove is more economical and cost-effective since it requires less material to produce. It also provides greater tactile sensitivity, which is important for tasks that require great precision. The thickest nitrile gloves may not be the best choice for doctors or nurses, who need to be able to feel for subtle swellings or texture differences during patient exams.

While this tutorial is about bouncing light using a speedlight, the same concepts can be applied to film lighting. Notice in the tutorial how the light changes depending on the angle in which the light hits the wall.

Be careful when looking for softboxes online. There are a lot of really terrible softbox brands out there that target indie filmmakers. These lights break easily and have horrible color casts. I recommend using a simple Lowel softbox kit if you’re just starting out.

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The flip side is that a thick nitrile glove is somewhat less flexible, which is something to keep in mind for quick, precise tasks requiring tactile sensitivity. Thicker gloves are also a bit harder to remove, which can be an issue for those who need to take them on and off quite easily (like food prep workers or doctors doing basic exams).

This nitrile glove thickness range is thick enough to withstand punctures but still thin enough to retain tactile sensitivity. Gloves in this category are appropriate for jobs where you need to worry about exposure to bodily fluids or other infectious materials. If you're working in a healthcare setting, make sure to look for medical grade gloves.

However, it's considered less critical if industrial nitrile gloves contain small pinholes or other defects. Those tiny openings matter more for hospital gloves, where there's considerable danger of infections being transmitted through microscopic amounts of bodily fluids.

Industrial grade gloves generally have to meet an acceptable quality level (AQL) of 3.0 to 4.0, meaning less than 3-4% of a batch can have manufacturing defects. The FDA mandates an even stricter standard of 2.5 for medical grade gloves.

A light field is called coherent when there is a fixed phase relationship between the electric field values at different locations or at different times.

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One thing to consider when shooting near a window is color casts. Lights in your home are typically tungsten balanced (orange) while sunlight coming through a window is typically daylight balanced (blue). In order to avoid shooting in mixed lighting, you may want to invest in a CTO daylight conversion filter to place over your window.

In this super helpful tutorial from Sea & Sky Films we take a look at how to use silks/scrims to create incredibly soft lighting when outside.

For industrial workers, the biggest priority is puncture protection, so they’ll reach for the thickest nitrile gloves they can. These 9 mil to 10 mil heavy duty gloves may also be a good idea for those working with extremely dangerous chemicals.

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In a nutshell, diffusion changes the relative size of a light source. For example, if we were to place a white sheet between your subject and a floodlight, we would get much softer shadows than if we simply hit the subject directly with the floodlight.

In this tutorial from DiCasaFilm, we take a look at how to do a basic three point light setup using only softboxes. Notice in the tutorial how the distance of the light source determines the intensity of the light hitting the subject. This is because of a phenomenon called the inverse square law. For more info on this subject, check out the article Inverse-Square Law: The Nerdy Term Every Photographer & Filmmaker Should Know here on PremiumBeat.

This chart gives you a basic overview of the various nitrile gloves thicknesses, the benefits of each, and how they’re used. For more information, check out the next section on nitrile gloves for various industries.

These thinner nitrile products are affordable yet durable choices for those like food service workers. If you just need a basic barrier and a glove you can shed quickly, these will help you avoid mess or cross-contamination.

Now contrast a sunny day with an overcast day. On an overcast day, you no longer have a strong single point in the sky hitting your subject, rather the light is diffused across the entire sky. The result is incredibly soft shadows.

A thick glove uses more material, increasing the cost, but also making the glove much stronger. These are the gloves that can protect your hands without ripping or tearing while you're performing rough work. In the case of nitrile, thicker gloves are also more puncture and chemical resistant.

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Thicker gloves like 6 mil to 8 mil provide some extra puncture and chemical resistance for jobs involving sharp edges, harsh abrasion, and caustic materials. These are often considered industrial grade disposable gloves.