Backdrop?

[Melody]

Any suggestions for preferred backdrop supports?

I've read of using various stands and a pvc pipe across the top etc.

What is your preference?


Don also had great suggestions of: Black felt, canvas, large painters canvas is nice because you can paint them or dye them, and they're cheap.

Any more?

Melody

[Melody]

Oh I remember Bryan Duckett likes the white vinyl as well and 10x20 or larger I think thats right, if not correct me.

(see I really do read all the posts :) )

[Auminer]

(see I really do read all the posts :) )Did you read the one where Melody didn't report back on the "Beamer"? :lol:

Dave

[Melody]

:lol: Well I've got it in my car and I did try it once, it just didn't work where I tried it in all fairness I didn't expect it too horrid conditions there. Gosh now I will find that thread!

[Linda G]

http://www.artisticbackgrounds.com/about2.asp

Don't know much about the company, just know I like them on my monitor and are used by photographers I've done business with.

This is my favorite:

http://www.artisticbackgrounds.com/large.asp?category=4&image=82

I also know of some who use antique tapestry rugs with muted patterns and colors. Throwing different temperature lights and colors on them can change them to create a different mood or go with a variety of clothing colors.

There are also many classes on painting your backdrop canvases. I know the KPPS (Kansas Professional Photographer's School) I've attended and helped with for the last three years has a class. Each student gets two and the class as a whole makes several extras to auction off during a lunch break to pay for scholarship tuitions.

http://www.kpps.com/treft1.htm

[lightwrangler]

You can buy some pretty good muslin backdrops. They are light and very portable. However since you live in LA area, I would suggest commissioning a canvas, one painted especially for you. It does look different than a muslin. Since it doesn't fold and can only be rolled this would mostly live in your studio. What you get is uniqueness that helps to define the "Melody style" in your formal portraits. This gives you a look that others can't exactly match. A good canvas will last for a lifetime with proper care and can be lit in different ways, giving some variety. I would suggest one large enough for a group of four or five. 12 x 16 feet or so.

I have 2 muslins and they get a lot of use. I also rent a couple more every so often. Rentals are an option for me, may for you too. Since at the moment I don't have a studio, my canvas drops are rolled up and in storage. I miss those in portraits, they have a great look. I'll have to get those out.

[Linda G]

I've heard of some complain that muslin wrinkles too much, is that so? How hard is it to get the wrinkles out?

[lightwrangler]

steamers - work like a charm, also sometimes you just work with the wrinkles, clamp tight and stretch between stands.

[Melody]

What you get is uniqueness that helps to define the "Melody style" in your formal portraits. .

Sorry quick time out for laughter break, that just cracked me up! :rofl: :rofl: yeah Melody style initially I won't want my name anywhere near it! :lol: Can't I just use an Adrian style if I get some really high heels and uh cut my hair and dye it dark, and uh oh learn to shoot like you do? :lol:

Muslin ok.............but as someone who has sewn a bit I HATE muslin to work with............why don't they just call it 'wrinkles', do they use it because it is one of the cheapest fabrics? Well in all fairness like cotton to cashmere there is a variety of grades and quality of muslin.

Canvas how ducky oh how about using duck? nice weight, cotton, hmmmm...............ohhhhhh I just had an idea I can with my big piano dye any image I'd like right into fabric! :D Paint HA! I'll cheat! Uh oh think of the clouds, or mottled colors and such that could be done so easily and changeable in PS.........uh oh blonde brain is thinking and that's sometimes good sometimes not :lol:

Melody

[Linda G]

You may wish to look into a chroma green or blue background to make cutting out your subject easier, then put them on any background you wish.

[Melody]

That sounds like PS work!! :lol: I know you can do the people edit stuff I'm still learning though :o

For just beginning I'd like to see how close I can get to what I like right from the camera to a degree, there is enough PS work for me not being famaliar with it in just minor touch ups to the subject.

I love the suggestion of some of the tapestries, some are very muted and yet quite gorgeous, it's got that texture for some depth without being overdone. Thats the one thing I've noticed many mention is to make it simple.

[deMille]

I've heard of some complain that muslin wrinkles too much, is that so? How hard is it to get the wrinkles out?

The wrinkles are part of the charm, you just keep them out of focus and let the background flow with a pattern, shape, and folds that are complimentary to the mood of the portrait you are capturing. In my own opinion, the only problem with wrinkles is that people shoot them at too small an aperture and they stay in focus, competing with the subject. Leave at LEAST 6 ft between the subject and the background and shoot at an aperture that keeps attention on the subject.

Here is a important fact: The mind (eye) wants to look at what it is familiar with. Is it a threat/is it important/is it pleasurable. In a photograph such as a portrait, the mind is not interested in the background it is concerned with the subject. The background should be nothing more than complimenting that subject. In an advertising shot, that may be different since you are telling a complete story and, in most cases, the background must give the reason for the product to be there.

Don't eliminate the wrinkles, use them properly as part of the composition. Keep them out of focus as a supportive element.

Dale

[Melody]

Dale,

Silly question, and your tips are wonderful btw.

I have read and noticed you've mentioned as well it's desired to keep the subject 6 feet from the background and a light to seperate the subject from the background is helpful. I will have plenty of room to do this however when someone is in a tighter situation and can't physcially do that is it just a proper use/adjustment of light to seperate them a camera setting or combination of both?

When you say at least 6 feet is there a measurement that is more desired if you've got the room?

Melody

[deMille]

The rule of thumb is to use what looks the way you want it to. How's that for a cop out?

Some of the concepts that I described are general ideas to keep attention where you want it: at the subject. Depth of field is a critical tool to accomplish this and unless you have a very good grasp of its application it is best to be safer by letting the background fall away out of focus.

Many of the "errors" you will see in beginning portraiture is that the background will "compete" for attention with the subject. Remember, the eye wants to recognize what is there, even if it is a stretch of muslin. I takes interest away from the subject (in the case of portraiture, the person).

You can use less space if you have to but you must understand that you have that competition going on. It will require a larger aperture for less depth of field. That will mean very crucial focusing on the subject to still keep the background "soft". It will also mean that controlling light on the subject is more critical. If the subject is close the the background, the amount of light on both will the close to the same. You will no longer have a good separation between to two to keep attention on you subject.

I have shot things in warehouses that had all the room in the world yet I only used a small area. The important part is to use it creatively. I have shot in tiny spaces.

The bottom line that few people like to hear: learn what light does and how to control it. Once you do that you can go ANYWHERE and make it work because you know HOW it works!

Dale

[Linda G]

Exactly right, Dale.

And, you've all given good ways to learn to master that light, or at least learn how much we don't know!

I'm off tonight to the Salvation Army shelter. They have homeless families and the local chapter of Young Lawyers hosts a Christmas party for them every year. Mel and I have photographed it and found the families enjoy having their pictures taken together. It gives them a sense of normalcy.

The Salvation Army works with these people to get them back on their feet with job skills and confidence to succeed, we never see the same families there twice!

Last year a very beautiful lady was there with two preschoolers and she was reluctant to have their pictures taken. We figured it was either a case of embarrassment in her situation or possibly she was afraid the pictures would be used for publicity and she was in hiding from an abusive man. By the end of the evening, we had a makeshift area on the stairwell for families to pose in and she and her two were one of the last to get photographed and the best models.

This year we're setting up an improvised backdrop of cloth I bought a few years ago (seen behind Mel in his lovely portrait of Jayhawk finery) and I'm taking the studio lights and get to practice, practice PRACTICE!! We'll print them out tomorrow for them.

[deMille]

Linda,

Wonderful program. I have always agreed with the idea of a youngster growing up with family photos around. It helps them with a sense of belonging. While the family structure has been beaten and battered there is strength within it that can be monumental in a child's development.

Dale

[sisterwolf]

you can get fabric from fabric or quilting stores. Quilting stores will have 120 inch wide fabric for the backs of quilts. You can dye the fabric. PROCION is one of the best dyes. I have a huge roll of fabric to dye.

I have used bedsheets. Ihave hung them on the wall with thumb tacks.

Foam core is also an awesome product to have in the 'studio'. You can use it for reflectors or backdrops. We had HUGE pieces in my studio class. In fact, we used one light, and foam core, and were able to have fill light, hair light, and backdrop all from foamcore.

[Linda G]

you can get fabric from fabric or quilting stores. Quilting stores will have 120 inch wide fabric for the backs of quilts. You can dye the fabric. PROCION is one of the best dyes. I have a huge roll of fabric to dye.

I have used bedsheets. Ihave hung them on the wall with thumb tacks.

Foam core is also an awesome product to have in the 'studio'. You can use it for reflectors or backdrops. We had HUGE pieces in my studio class. In fact, we used one light, and foam core, and were able to have fill light, hair light, and backdrop all from foamcore.


I would love to watch you work! THAT'S called mastering light!

[deMille]

I would love to watch you work! THAT'S called mastering light!

That's the idea! By understanding light you can shape it to any application you need using whatever you have available! Big lighting sets are wonderful to work with but the nature of light remains the same regardless the source.

Dale

[HairyHaggis]

Am looking for a UK distrubutor of backdrops if anyone has a link .... sorry Melody dont mean to hijack thread ;)

[Melody]

Am looking for a UK distrubutor of backdrops if anyone has a link .... sorry Melody dont mean to hijack thread ;)

Not a hijack at all thats what the threads for to share, if I see anything in searches I'll be sure to let you know :)

Melody

[Camarochas]

Melody,

Muslins are great and some can be inexpensive; check around. I have a few muslins that I like a lot. Denny sells 5-foot by 7-foot collapsable backgrounds. I use one for bridal photos at the bride's house and it works great. I've seen backgrounds painted by putting paint or dye into the insecticide sprayers that you pump by hand. They are available in the garden department of Home Depot and places like that. I actually bought one but haven't used it yet.

If your'e lucky at a garage sale you might find an old painter's drop cloth. Those are great, but hard to come by.

I've even seen some wallpaper that makes a good background. But the restaurant gave me hell for trying to take their wall out with a sawzall!

Charlie