Eileen, if you want a really easy way to try reflectors - make one to start with. Inexpensive, easy to throw away if you decide it doesn't work and, if it does work, you get the pleasure of thinking "I did that!"
Get a square (or rectangle, doesn't matter) of card; could be the side of a box like a cereal box or something similar. Smaller size will probably give you more intense reflected light, larger will soften the effect to some degree.
Almost every kitchen has a roll of silver foil in it somewhere - simply cover the card with the slightly matt side of the foil. It doesn't matter if you get wrinkles or kinks in it, that's partly the nature of aluminium foil.
And voila ... one very simple, very cheap reflector. The light from this will probably be harder iand more intense than, say, a shop bought soft white reflector, but it's worth a try just as an experiment.
Prop it against something, out of line of sight of the camera, and play around with 'bouncing' and directing the light into the areas you want to illuminate more in your image.
Textural overlays ... that 'orrible, scary thing called 'layers' we discussed in the comments on your Four Pears
Have you ever used the old fashioned overhead projectors that people used to write on and project up onto a wall or a screen? Put simply, think of 'layers' in an image as stacked opaque acetate sheets, placed one on top of the other. These can either be images in their own right, imported into your original image, or they can be blank transparent layers which you then add elements to. They can also be layer masks, but let's not go there for now!
Try to visualise this ... the image at the bottom of the stack is the image above of the trug, the oranges and the jar. This is your 'base' image, or your 'background'. Then, above that, you add another image as a layer (there are several way to do this, but we'll leave that one alone for now as well). This 'new' layer contains an image of, for example, a piece of linen that shows the texture.
Now, given that these 'layers' are opaque at the moment, you can't see your original image through
the one of the linen texture because the opacity of the one on the top of the stack of layers is set to 100%. So you need to change they way the one on top interacts with the one below it. You could just alter the opacity of the top layer, or you can actually change the way the pixels in the top layer image affect the pixels in the image below it. That's what 'blend modes' are. If you told the one above to use the Overlay
blend mode, you'd see the original trug/oranges/jar image through
the linen texture above it in one particular way
. Other blend modes will give other effects - that's one of the beautys of using them; the only limit is your imagination (and taste, of course, but that's a whole other ball game!).
That's a very simple analogy, but hopefully it makes some sort of sense? It can be confusing, I'll not deny that. But the freedom it will give you once you get your head around it will boggle your mind
PS - I didn't know what a trug was either, until some kind soul bought me one ... now I ponce around the garden with it, doing my weeding
Damned useful things, actually ...