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Old 04-05-2004, 01:34 PM   #1 (permalink)
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If I am wanting to do some shots with solid color back grounds what do I need to get? Are people buying different color backdrops or using gels to color a white backdrop?

Thanks guys...
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Re: Backgrounds
Old 04-05-2004, 01:44 PM   #2 (permalink)
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I buy paper and then have it rolled on rods in my studio. I actually buy 3/4" copper because it is lightweight but strong enough to hold and it comes in 10' length.. I don't buy online because the shipping is too high. I buy a roll for $36.95 at Precision Camera here in town, and if they don't have the color I need they include it with their next order. Not sure you'll have access in Tyler, may have to go to Dallas.

Mike
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Re: Backgrounds
Old 04-05-2004, 02:04 PM   #3 (permalink)
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My favorite background is the Photek Background in a Bag, it photographs well and is about $159 at B&H. I have Gray, Blue Black and Maroon.

You can see samples at my OMP site (#55629)
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Re: Backgrounds
Old 04-05-2004, 03:01 PM   #4 (permalink)
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If you've got the extra lights and gels, then a white background is pretty versatile, although broad monotone expanses get boring pretty quickly, IMO. I got a roll of 10' white paper from B&H - special deal, even with shipping it was pretty reasonable as I recall. You also need two farily sturdy stands, a crossbar (Mike's 3/4 inch copper - darn, I wish I'd have thought of that), and a couple of clamps - or a background stand, which is basically that.

I've also bought 10' wide cotton muslin (about $6 a yard) and multi-dyed it myself, a fair amount of work, but not overwhelming. Kids and I "painted" it with fabric dye and sponges, flat on the grass in the back yard, then washed in cold to bleed the colors together. Acceptable, I suppose.

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Re: Backgrounds
Old 04-05-2004, 05:04 PM   #5 (permalink)
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I also use rolled paper but had some custom drapes made by Rose Brand (www.rosebrand.com) out of New York. I wanted a velvet look that was 12 feet wide and 20 feet long so they made them to my specs. They were not cheap but gave me exactly what I wanted. Here is are two examples of the look:

regards

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Re: Backgrounds
Old 04-05-2004, 06:07 PM   #6 (permalink)
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I use a combination of 10x21' gray canvas (used to be black until I washed it), mottled gray Background in a Bag (velour), mottled purple muslin and white and black rolled paper. I use gels on the black paper when I want to change colors. I use a 1"x10' piece of conduit to slip through the 2" core the paper comes on. If you use paper make sure you stand it up and don't leave it hanging on the roll or it will wrinkle.

Rick D.
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Re: Backgrounds
Old 04-05-2004, 07:43 PM   #7 (permalink)
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If you want to use paper seamless, they come in many colors, 9' wide, 36' long rolls (black, white, gray & blue also come in 12' and 50' or 100' long) and usually run about $40/roll plus shipping if you're not near a camera store. (Some come on a "core", this is better if you can get it). I have a 10' long, 2" diameter wooden pole that I hang the paper from. on location I simply lay the pole in the "V" formed by using an A-clamp business-end down on top of a "C" stand - the "V" is formed by the handles. This way I can use the "C" stand to adjust the the height. Make sure you have sandbags on the bottom. In the studio, I install eye bolts in the ceiling and run a rope through a pulley, then use a sliding connector on the end of the rope to attach it to another set of eye bolts screwed into the ends of the pole. (And then you attach a clete to the wall to attach the other end of the rope to). Either method makes changing paper fairly fast, but do work best with a helper. Also, as stated elsewhere, don't store the poper on the horizontal pole when not in use or you'll get horizontal creases in it. Wrap it up tight and store vertically.

If you want to make colors, I would suggest using mid-gray rather than white. Any color on white will be suseptible to white light bleed from the main lights, and will come out looking kind of pastel. Gray will give you more saturation. Also, keep the background several feet behind the model so that you are almost lighting them seperately. A rule I learned from Dean Collins is: With only the main lights firing, take an incident reading from the model's position and from right in front of the paper. If the difference is less than 3 stops, you will get white-bleen into your background. You may have to turn the main lights down or away from the background, or flag them off, or simply move the background farther back to get the desired result.

I just posted this pld shot of Cindy Margolis yesterday in response to another question but it works here too. This is a greay textured background lit exactly as I decribe above, using green gels on the background.



Regards,
Andy Pearlman
Andy Pearlman Studio
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great post
Old 04-06-2004, 02:47 PM   #8 (permalink)
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thanks Andy, I actually printed this out for future reference...
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Andy is right on the money
Old 04-25-2004, 11:10 AM   #9 (permalink)
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Andy is right on the money.... here is a shot I did for a poster, shot on flat black seamless paper, with just a single blue gell with barn doors on the background. Personally, I like black rather than grey since it is easier to fade to black which is usually the way I need to go, but that's just me.
 
 
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