Portraits on White BG, Color and Focus

[tani]

I have been working on setting up my studio area for quite some time. I'm still struggling with shooting on a white background. I have 2 problems. First is getting my white to look white, second is focus.

For those doing indoor portrait work with studio strobes, do you have the room completely dark just using the modeling lights on the strobes?
Would manual focus work best? I've just been using the auto.

As far as the background goes I have a white 9X18 muslin. However, would I be better off using some harder type of surface for the floor? Can you use a muslin for the backdrop and some type of vinyl for the floor?

I have a link of some examples that were done yesterday. My daughter is always kind enough to let me experiment on her.
http://www.konnectedkin.com/whiteimages.htm

If Shay is out there I have always admired your work. How do you get those crystal clear shots in the studio? Also, do you have any examples on your site of full length shots done on white?

Any suggestions would be appreciated.

--
Tanya

Sony DSC-F717, HVL-1000, Epson 1280, 2200, PS7, Qimage Pro, Sony Wide Angle, Telephoto Lens and 3 ABs 400.

 

[Shay Stephens]

The trick to hot white backgrounds is in the lighting (hehehe probably no surprise there right). In order to achieve hot white, you have to light the background separately. You also need to move the subject farther away from the background to help control the light spill from the lighted background.

Careful control of light, good metering, and plenty of distance from the background (at least 6 feet) should do it. You will need a minimum of 4 lights most likely, 2 for main and fill, and two for the background. The larger the area that has to be white the more lights you will need. Full length shots will probably need more than two lights on the background.

Focus is always the challenge. Use a focus target if needed.

--
Shay
http://www.shaystephens.com/portfolio.asp

'Cameras are not artists, photographers are.'

 

[tani]

Wow, thanks for the quick response!
So, would you recommend using barn doors or grids on the background lights?
Thanks again.
--
Tanya

Sony DSC-F717, HVL-1000, Epson 925, 1280, PS7, Qimage Pro, Sony Wide Angle and Telephoto Lens.

 

[webtsg]

Using white / black umbrellas would be ideal. I use white umbrellas to light the backdrop and then 2 white panels I made from styrofoam panels to block the back light from lighting up the subject.

The trick is to get a consistant lighting on the backdrop. These are some of the hardest images to acheive.

Here is a sample. This is over a white paper backdrop, and only had 1 strobe to light up the backdrop, so a little dark to the right. I have a 9x18 white muslin coming in today

Wow, thanks for the quick response!
So, would you recommend using barn doors or grids on the background
lights?
Thanks again.
--
Tanya
Sony DSC-F717, HVL-1000, Epson 925, 1280, PS7, Qimage Pro, Sony
Wide Angle and Telephoto Lens.

--
Tim -
Photography is more than pushing that button thingy, whatever it's called.

 

[Shay Stephens]

Grids would probably be too dimming, I would use barn doors if the lights will be close to the subject to keep the light spill under control. If you have enough space, there won't be any spill and barn doors won't be needed.

You could also use some black flags instead of barn doors or in addition to barn doors.

A variety of tips, tricks, and opinions can be read here:
http://forums.dpreview.com/forums/read.asp?forum=1025&message=2792163

--
Shay
http://www.shaystephens.com/portfolio.asp

'Cameras are not artists, photographers are.'

 

[tani]

Thanks for the tips.

I've ordered 1 more light and a wall mount boom arm. That'll take me to 4 AB's 400. I've been playing with my umbrellas and 2 cheepo lights for the background until the new AB gets here. I have light spilling all over the place, but at least I can see what a difference that makes. By blowing out the white background (in a sense) and plenty of disctance between the subject and background it makes big difference. Now to do something about the flooring issue!!
It never ends.

Thanks again.

Tanya

Grids would probably be too dimming, I would use barn doors if the
lights will be close to the subject to keep the light spill under
control. If you have enough space, there won't be any spill and
barn doors won't be needed.

You could also use some black flags instead of barn doors or in
addition to barn doors.

A variety of tips, tricks, and opinions can be read here:
http://forums.dpreview.com/forums/read.asp?forum=1025&message=2792163

--
Shay
http://www.shaystephens.com/portfolio.asp

'Cameras are not artists, photographers are.'

--
Tanya

Sony DSC-F717, HVL-1000, Epson 925, 1280, PS7, Qimage Pro, Sony Wide Angle and Telephoto Lens.

 

[* SHOOTER *]

Its not just how many lights but their output, focus and position. I am not as big a fan of muslin for white backgrounds. I prefer the paper. Less seams to deal with. Try not to light your subject overall...in fact a good way to practice is on close-ups. Personally I have never done studio work with a digital but have had tons of experience with film. Use one spot to seperate your subjects head area from the background. Use the front light for fill and use your third light on your backround. My experince is that muslin being a fabric has more tendency to absorb light...even though its minimal, its still noticeable to the trained eye. I also highly suggest some type of bounce card to help fill. In my opinion bounce cards are highly underated. Hope my dos pence helps.

The trick to hot white backgrounds is in the lighting (hehehe
probably no surprise there right). In order to achieve hot white,
you have to light the background separately. You also need to move
the subject farther away from the background to help control the
light spill from the lighted background.

Careful control of light, good metering, and plenty of distance
from the background (at least 6 feet) should do it. You will need
a minimum of 4 lights most likely, 2 for main and fill, and two for
the background. The larger the area that has to be white the more
lights you will need. Full length shots will probably need more
than two lights on the background.

Focus is always the challenge. Use a focus target if needed.

--
Shay
http://www.shaystephens.com/portfolio.asp

'Cameras are not artists, photographers are.'

 

[* SHOOTER *]

Grab a few clamps and some 8x10 black board and you can take care of the spill easily. Im not a big fan of barn doors for photography but they have their place in video.

Grids would probably be too dimming, I would use barn doors if the
lights will be close to the subject to keep the light spill under
control. If you have enough space, there won't be any spill and
barn doors won't be needed.

You could also use some black flags instead of barn doors or in
addition to barn doors.

A variety of tips, tricks, and opinions can be read here:
http://forums.dpreview.com/forums/read.asp?forum=1025&message=2792163

--
Shay
http://www.shaystephens.com/portfolio.asp

'Cameras are not artists, photographers are.'

--
Tanya
Sony DSC-F717, HVL-1000, Epson 925, 1280, PS7, Qimage Pro, Sony
Wide Angle and Telephoto Lens.

 

[tani]

Yes your dos pence helps.

My boom arm should be here today. I want to put that to use in separating my subject from the background. I have a large softbox for my main and I also like to use a reflector as fill.

I agree in dumping the white muslin. I've thought about trying paper, but I want something durable and something that I could also clean easily. I have plenty of space, 10' ceilings and actually my walls are white. I have even considered using just the white wall and laying a solid white vinyl flooring just for a high key area. I have a few senior portraits to do over the next couple weeks and it seems those kids have a desire for shots on white.
I appreciate your input.
Tanya

• SHOOTER *

wrote:

Its not just how many lights but their output, focus and position.
I am not as big a fan of muslin for white backgrounds. I prefer the
paper. Less seams to deal with. Try not to light your subject
overall...in fact a good way to practice is on close-ups.
Personally I have never done studio work with a digital but have
had tons of experience with film. Use one spot to seperate your
subjects head area from the background. Use the front light for
fill and use your third light on your backround. My experince is
that muslin being a fabric has more tendency to absorb light...even
though its minimal, its still noticeable to the trained eye. I also
highly suggest some type of bounce card to help fill. In my opinion
bounce cards are highly underated. Hope my dos pence helps.

 

[* SHOOTER *]

The good thing about paper is its not that expensive. You could always go with a cyc wall and keep repainting it also but thats a whole other gig. Also, aren/t most senior portraits waist up anyway so even any footprints or dirt on the paper isnt going to make a difference.

Good luck

• SHOOTER *

wrote:

Its not just how many lights but their output, focus and position.
I am not as big a fan of muslin for white backgrounds. I prefer the
paper. Less seams to deal with. Try not to light your subject
overall...in fact a good way to practice is on close-ups.
Personally I have never done studio work with a digital but have
had tons of experience with film. Use one spot to seperate your
subjects head area from the background. Use the front light for
fill and use your third light on your backround. My experince is
that muslin being a fabric has more tendency to absorb light...even
though its minimal, its still noticeable to the trained eye. I also
highly suggest some type of bounce card to help fill. In my opinion
bounce cards are highly underated. Hope my dos pence helps.