Background Setups for Large Rolls

[The_Thin_Man]

Hello DP Review Studio Photographers,

I am a product photographer that landed a furniture maker as a client. They do solid wood, shaker style furniture, so think night stands, dressers, bed frames, etc.

They are interested in images that have some depth to them so short of setting up full sets, I am considering shooting the pieces on a seamless white roll and using the magic of adding a background to the shot in other, post-production ways.

I figure that I will be using anywhere from 108" to 86" seamless rolls. The system I am looking at is either the Manfrotto Background Support System or simply buying the Manfrotto 272B Adjustable Background Holder with C-Stands.

I am curious what preferred thoughts are for these setups or something I am not thinking about? I do have studio space, and don't plan on lugging the background system around, but hanging rolls isn't quite in the cards as that can be a spendy venture. Plus I have a lead on the Manfrotto Background System at a good price so that is lucrative as well.

Thoughts welcome!

 

[landshark]

For White seamless all I ever used was c-stands with arms, sandbags and large spring clamps or Roller stands with the same arms and clamps. I never found the need for any roll system unless you are mounting one to the ceiling of the studio. If you need to renew the surface just cut it, lower the stands and pull out more

 

[Ellis Vener]

Since it’s your studio, my suggestion is that you have a cove built that seamlessly blends the wall to the floor.

If it’s white, you’ll have paint the floor regularly but that’s going to easier and cheaper over the medium and long run that using paper.

Alternately, if you really want to go with seamless paper, what we used to do when I was first assistant fora studio that shot cars (this was in the early ‘80s) and for other big set work, was screw a pair of 10 foot long 1x4s high up on the back wall of the studio. We’d then take the 108” rolls of Seamless and using a staple gun and a level and staple the leading edge of the 1st roll to the 1x4 and start rolling it out and stop when the roll got to the floor. Then we’d repeat that with a second roll, over lapping the edge by about a foot. We’d then use spray mount on the backside of the second roll where it overlapped the first one and use a rolling pin to lay it flat on the first roll. We’d then roll out the rolls the rest of the way.

it was a job that took at least two of us most of a day.

When it came time for a clean floor we’d roll a third roll across the existing paper.

that’s how we did it in the 1980s. Today, there’s Photoshop. Isn’t progress grand?

 

[The_Thin_Man]

Since it’s your studio, my suggestion is that you have a cove built that seamlessly blends the wall to the floor.

I didn't say it was my studio, I just rent space.

That would be quite an investment in time, money and space. Sadly, I don't have what it takes for any of those.

Though, I do appreciate you giving the best solution and another alternative take.

 

[Ellis Vener]

go withthe 108' width and if you have to use stands, rent these https://www.msegrip.com/collections/stands/products/hollywood-baby-jr-triple-riser, "Hollywood Baby Triple Risers" instead of C-stands. C-Stands are really engineered to support that much off-center force.

 

[The_Thin_Man]

go withthe 108' width and if you have to use stands, rent these https://www.msegrip.com/collections/stands/products/hollywood-baby-jr-triple-riser, "Hollywood Baby Triple Risers" instead of C-stands. C-Stands are really engineered to support that much off-center force.

Thanks, Ellis! Those are serious business.

 

[Teila Day]

Hello DP Review Studio Photographers,

I am a product photographer that landed a furniture maker as a client. They do solid wood, shaker style furniture, so think night stands, dressers, bed frames, etc.

Congratulations.

They are interested in images that have some depth to them so short of setting up full sets, I am considering shooting the pieces on a seamless white roll and using the magic of adding a background to the shot in other, post-production ways.

I figure that I will be using anywhere from 108" to 86" seamless rolls. The system I am looking at is either the Manfrotto Background Support System or simply buying the Manfrotto 272B Adjustable Background Holder with C-Stands.

If you're going to be in a studio setting where you'll be the only one working for the most part, then I think the Manfrotto system is too much money for what you actually need. It seems you basically just need two generic stands and a crossbar. You don't have to spend $400+ for that. I'd recommend heavy duty stands that roll (with brakes) over C-stands.

I've a collection of impact stands and crossbars that have been around the world with me... in the snow... on hot beaches... in mountainous terrain. I've had them for 15-20 years and they haven't let me down, and cost little more than $100.

https://www.bhphotovideo.com/c/prod..._bgs_s12_v2_background_support_system_12.html

Typically, I'll use much heavier duty stands, etc.. (above), or when hanging seamless flat to a wall where I don't want stands with legs in the way, I'll use Varipoles by Impact. No fuss and I use the poles to hang seamless, lighting, and sometimes as protective barriers to keep other stuff from falling. They've been extremely versatile for me over the years (below)

https://www.bhphotovideo.com/c/prod...P_712SP_Deluxe_Varipole_Support_System_2.html

I am curious what preferred thoughts are for these setups or something I am not thinking about? I do have studio space, and don't plan on lugging the background system around, but hanging rolls isn't quite in the cards as that can be a spendy venture. Plus I have a lead on the Manfrotto Background System at a good price so that is lucrative as well.

Thoughts welcome!

Go expensive when it makes sense. Otherwise, be frugal. That's one large facet of making money. If a $100 item will do what a $400 item will do without compromising safety, utility, reliability, etc.. then buy accordingly. I realize that people's situations vary.

 

[The_Thin_Man]

If you're going to be in a studio setting where you'll be the only one working for the most part, then I think the Manfrotto system is too much money for what you actually need. It seems you basically just need two generic stands and a crossbar. You don't have to spend $400+ for that. I'd recommend heavy duty stands that roll (with brakes) over C-stands.

I've a collection of impact stands and crossbars that have been around the world with me... in the snow... on hot beaches... in mountainous terrain. I've had them for 15-20 years and they haven't let me down, and cost little more than $100.

https://www.bhphotovideo.com/c/prod..._bgs_s12_v2_background_support_system_12.html

Typically, I'll use much heavier duty stands, etc.. (above), or when hanging seamless flat to a wall where I don't want stands with legs in the way, I'll use Varipoles by Impact. No fuss and I use the poles to hang seamless, lighting, and sometimes as protective barriers to keep other stuff from falling. They've been extremely versatile for me over the years (below)

https://www.bhphotovideo.com/c/prod...P_712SP_Deluxe_Varipole_Support_System_2.html

I am curious what preferred thoughts are for these setups or something I am not thinking about? I do have studio space, and don't plan on lugging the background system around, but hanging rolls isn't quite in the cards as that can be a spendy venture. Plus I have a lead on the Manfrotto Background System at a good price so that is lucrative as well.

Thoughts welcome!

Go expensive when it makes sense. Otherwise, be frugal. That's one large facet of making money. If a $100 item will do what a $400 item will do without compromising safety, utility, reliability, etc.. then buy accordingly. I realize that people's situations vary.

This is all really useful advice. I have found that casters make the most sense for anything in the studio, so I hear you regarding rolling.

Thank you also for the links. Super helpful!