The most common reflector mistake is holding it too close to the subject and angling it directly at the face. The result is a flat, even fill that removes shadow entirely and makes the image look lit rather than naturally illuminated.
What the reflector is actually doing to the light
A reflector bounces existing light back toward the subject. The closer it is, the broader and more intense that bounce becomes. At a distance of roughly 1.5 to 2 metres, the fill is soft enough to reduce shadow contrast without eliminating it. Move it to 60 centimetres away and it starts competing with the key light rather than supporting it.
Angle matters as much as distance. A reflector aimed at the shadow side of a face from below the chin creates a fill that looks unnatural because natural light rarely comes from that direction. Bringing it level with the subject or slightly above and angling it downward produces a more credible result.
Silver versus white panels in direct sun
Silver reflectors in direct sunlight can overpower the key light at close range. White reflectors produce a softer bounce and are easier to control in bright conditions. Many photographers who switch from silver to white panels in outdoor daylight sessions report fewer retakes and more consistent results across a shoot.
Photographer Anneliese Drummond tested both panel types over a series of outdoor portrait sessions and found white panels required less repositioning between shots because the light output was more predictable at varying distances.