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which do you think is more versatile: white or grey backdrop
which do you think is more versatile: white or grey backdrops? If grey, then what percentage is best? 30%? Jun 27 05 11:37 am Link If I only had one it would be grey. You can blow it out and make it white, or if you get far enough away from it it'll go black. The thing about grey is you can make it any color with gels. It doesn't reflect as much light as white, and doesn't absorb as much as black. I've got a grey muslin I won on ebay that's about 10x24 (I think). It's pretty close to 18% grey. It'll turn just about any color you can think of. Jun 27 05 11:44 am Link I use all three. Don't know what I would do without those three basic colors (White, black, and grey - it's around 20 percent). Cheers, Portland Filmworks Jun 27 05 11:58 am Link specifically to the word 'versatile'...i would say grey. in my case, thunder grey...as I can use gels on it, and it maintains the color, and holds shadows nicely. Jun 27 05 12:08 pm Link Posted by Capt Stu Beans: Is that a specific product? Jun 27 05 01:18 pm Link Oh, nevermind, I looked it up, Savage #12. Thanks. Jun 27 05 01:28 pm Link I'd say White is more versatile because from lack of light to colored lights and projections theres more you can do if you take the time to think things out. Jun 27 05 01:30 pm Link I'd have to line-up on the grey side of this. A good light-grey (around the %20 range) is very flexible. As noted previously, you can make it appear anywhere from white to black with the correct setup. Another thought would be to use a chroma key backdrop (blue or green) and then digitally change the background to anything you want. Jun 27 05 02:35 pm Link I already have white, black, and crimson Savage rolls. Can't wait to use them next week. Jun 27 05 02:36 pm Link Posted by Ched: I have literally spent weeks of my life and made tens of thousands of dollars shooting on white backgrounds. Currently I have an 11'x16' white wall that I shoot against all of the time for catalog work. You can get grey out of a white wall or background w/ distance and power. It would take an awful lot of power to get white out of a grey background, fwiw. Jun 27 05 03:24 pm Link i like white. Jun 27 05 03:31 pm Link Personally, I'd go with a black if you can only get one. But a lot of it has to do with personal preference. Jun 27 05 05:03 pm Link I would have to say White is more versatile in the ease of use and if your shooting area is large, in order to control the light you can make the white any shade of grey you want. You can also turn a more even color with gels on white because of it's reflective value. However if you want rich colors and more dynamics then grey background would be the answer as you can blast light on grey and create high key as well. Full lengths will be more difficult but 3/4 high key is easily obtained with a grey background and blasting lights to it. J T Jun 27 05 07:02 pm Link I do not understand the question. More versatile for what? Jun 27 05 07:04 pm Link I'd say white because all my crayons show up the best on that. Okay. I confess. I don't like seemless. Jun 27 05 07:15 pm Link One just dont cut it,,,,get white 1st, then dark (thunder) gray, then some black, then some color. Come on, it's only $40 per role...splurge a little! Also, get some stuff from home depot, and if you cant afford any of that, go outside! ;-) That's all free! Merle Jun 27 05 07:45 pm Link Posted by theda: Not to pick on a moderator, but did ya mean seAmless?? Jun 27 05 07:54 pm Link Posted by Keith aka Wolfie: Don't you moderate my spelling. Jun 27 05 08:00 pm Link I mainly use white with a glossy white wallboard as the floor base, my second choice is black. Many photogs I know have problems shooting on white so they aviod it and usually go with gray. I also don't use paper, I use cloth backdrops of which I have quite a few colors. It's alot cheaper in the long run not using paper if you shoot everyday. Jun 27 05 08:03 pm Link Posted by James Graham: If you could only afford to by one, which would it be? Jun 27 05 08:10 pm Link If I could only have one, I would have to lean towards the Grey side...Only because it's easier to go black or add color if needed. I have however, shot some pretty dark Grey on a white background, but I also had a lot of room to pull the model away from the backdrop. Jun 27 05 09:14 pm Link I have lots of various colored backdrops and have found grey to be best to work with. Jun 27 05 09:26 pm Link Posted by James Graham: Anything. What can you do more with. Generally with light, but it's an open question. Jun 27 05 10:01 pm Link grey. more fashionable. Jun 30 05 08:52 pm Link Unless you use Photoshop a true white background can only really be accomplished with three lights. Two are used on the white wall or cove, with the lights reflected on very large white reflectors. The third light is on your model. But if you know how to achieve a white background, with no spill, through Photoshop you don't need the white background. Depending on how close your model is to the grey wall (mine is about 18% ) and where you position your light or lights that grey wall can go (as someone posted above) from almost white to black. If you shoot film you can trust your Polaroids to tell you when the grey goes black. If you use the LCD screen of your digital camera you will find that you will always be able to see that wall even when it is black. Jun 30 05 10:18 pm Link Well I remember something about a white backdrop is supposed to be 2 stops brighter than the foreground lighting, right. So what do you do with an 18% grey to achieve the same effect? I'm a seat of the pants in the field, but have the numbers memorized, kind of guy. Jun 30 05 11:26 pm Link Someone said you can blow out a grey wall to make it white. That is true but you will get a bad spill on your model. What you need is a white wall (if not head to toe) or a white seamless or a white cove. You position two door-sized white reflectors about 7 feet from a wall and behind each reflector you bounce off one head. You move these reflectors close to each other but not too close so that when you position your model on this side of them you don't see the edge of the reflectors on your frame. By moving your model back an forth you will find the sweet spot where there is no spill. If the light falling on that wall is one and a bit more stops than on your model's body you are fine. Alex Jun 30 05 11:47 pm Link Posted by alexwh: Alex, trying to visualise this, any chance of expanding on it for a duffer like me? Jul 04 05 05:21 am Link I use only white and black.. But like someone said earlier white is harder to shoot.. It is not as forgiving and really shows mistackes I like it harder makes me think more.. I try never to use black if i can help it..(:---- Jul 04 05 05:33 am Link Posted by tony1989tony: Posted by alexwh: Alex, trying to visualise this, any chance of expanding on it for a duffer like me?
Jul 04 05 12:28 pm Link This slightly off topic but if you are looking for awesome deals on backgrounds there is a compnay on eBay called Amvona that I have bought some stuff from. Their backgrounds are insanely inexpensive. I haven't bought any of their backgrounds yet but the other equipment I have gotten from them has been top notched. Jul 04 05 07:48 pm Link For Tony, Most phtographers would put two lights at an angle pointing at your white background. With your model positioned away from that white backdrop there would be a tremendous amount of spill bouncing from the wall that would flare up on your lens and spoil your photo. So what you do is turn those lights around to face you (open heads, no umbrellas or softboxe on them). But to block the light you place in front of them the two door sized white reflectors. The lights would not be more than two feet from the reflectors and about 6 feet from the backdrop. Then you get these reflectors as close as possible and place your model about a foot in front of them. Frame your photo so that you don't see the reflectors. This is the best way of getting a true white background and a head to toe shot. And of course you need a third light to shine on your subject. I was taught this trick by a fashion photographer who moved to Australia and is now back in New York. His name is Denis Montalbetti. Jul 05 05 12:33 am Link |
