| When shooting in a studio one of the frequent | | | | confined the space, what color the walls are, how |
| demands is to create a perfect white background or | | | | how the ceiling is will all effect the amount of |
| a perfect black background. Whilst small variations | | | | reflected light and consequently the exposure and |
| can be corrected using software such as photoshop | | | | light levels you need. You will however be in the right |
| this will frequently change the subject as well. Also | | | | ball park. |
| fine detail such as hair might be lost. It is always best | | | | One frequent problem to look out for is the |
| to try to light your subjects as close as possible to | | | | background having subtle variations from white to |
| the final image and not rely on photoshop. You will | | | | light grey. By repositioning the backlight or backlights |
| however require a flash meter to get the settings | | | | and perhaps adding additional lights or diffusers this |
| right, otherwise there will be a large amount of trial | | | | can be corrected. Don't fall into the frequent trap of |
| and error. | | | | trying to increasing the backlight massively so you |
| White Backgrounds. | | | | have a 3 stop over exposure in the darkest area of |
| For this situation you will not only a light for the | | | | the background and a greater over exposure say 4 |
| subject but also lights to illuminate the background. | | | | or 5 stops nearest the light. This will create problems |
| The backlight should be set up so that it provides a | | | | with lighting the subject, especially if you are working |
| diffuse light over the background that will be in shot. | | | | in a confined space. |
| There are various ways of achieving this, the easiest | | | | Black Backgrounds |
| method I have found is to set up some cheap flash | | | | A black background for photography is actually far |
| units that having an optical firing system. | | | | easier to achieve than a white background. There is |
| When you have set up all the lights, turn off the | | | | one simple rule that will ensure that your blacks and |
| studio flash which will be for the subject or model | | | | jet black if you follow it. Make sure your background |
| you are shooting. Then fire the background flashes | | | | is at least twice the distance from the light source |
| and make a measure of the lighting. The figure you | | | | than the subject is. It really is that simple. If you |
| get, say for example f32, will be to produce a neutral | | | | have the space and there is little reflected light you |
| grey. To make this pure white you need to over | | | | will also be able to turn a charcoal grey background |
| expose by 2 or 3 stops, so adjust the exposure | | | | cloth into a jet black one by moving the background |
| accordingly (f11 for the above example). | | | | further back. |
| Now turn off the backlights and turn on the models | | | | By using these two tips you will find that your |
| light and adjust the light output so that you get the | | | | photography is so much more enjoyable - when you |
| correct amount of light for the chosen exposure. | | | | finish a photoshoot you will find that your images are |
| Now turn on all the lights and do some test shots. | | | | perfect without having to resort to changing levels or |
| You will probably have to make some minor | | | | curves in photoshop. Above all experiment and enjoy |
| adjustments to the exposure depending on the | | | | your photography. |
| actual photographic studio set up you have. How | | | | |