Midday sun sits directly overhead and produces short, downward shadows. On a face, this means dark hollows under the eyes, nose, and chin. On a landscape, it flattens texture and bleaches colour. The advice to simply avoid this light is common, but it does not help anyone who has a shoot scheduled at noon.
What open shade actually solves
Moving a subject into open shade, such as the shadow side of a building with an unobstructed sky in front of them, removes direct overhead sun while keeping the subject lit by reflected skylight. That skylight still has a direction, coming from the open sky in front of them rather than from above.
The limitation of open shade is colour temperature. Skylight is blue, and without correction it makes skin tones look cool and flat. A reflector with a warm-toned surface, or a slight warming adjustment in post-processing, corrects this without looking artificial.
When shade is not available
In locations with no shade, a diffusion panel held above the subject between them and the sun converts direct overhead light into something closer to overcast light. The panel needs to be large enough to cover the subject fully, and it requires a second person or a stand to hold it in position.
Photographer Wren Halvorsen shoots documentary work in locations where shade is rarely available. She carries a 1.2 by 1.5 metre diffusion panel and a collapsible reflector as standard kit for midday assignments, treating them as essential rather than optional accessories.