Backdrop Suggestions

Not sure if this is in the right place, I know it's not strictly directly related to studio flash, but was unsure where else to put it.

I have three strobes and am gradually improving my skills, I want to start building a portfolio so have hired a local hall with the intention of doing some pictures for friends and family.

However, I don't have a backdrop. I quite like black, white, but also like the idea of being a bit versatile and being able to try lots of different ones at some point.

Anybody got any suggestions? I've seen paper, vinyl, cloth and am confused as to the pros and cons of each (apart from that cloth will show up wrinkles very clearly)

I'm based in the UK, so Amazon would be good. I have a couple of spare light stands, could I use those in any way?

thanks in advance

I have both seamless paper and muslins and I find the seamless paper the easiest to work with. They roll up nicely when not in use. The background stand that I have holds three rolls at a time so I have the option of using white, gray or black background. The only problem with the seamless paper is that they are plain. If you want patterns, you'll need to paint those on the paper yourself or project them onto the paper.

Muslins can be purchased plain or with patterns. They are easy to wash and care for but I have the hardest time keeping them wrinkle free. And they're hard to store without getting wrinkles on them. So I don't even try. I just bunch them up into a large wad and shove them into their storage bags when not in use. When I need them, I pull them out and hang them up, with wrinkles and all.

Thank you.

What sort of stand would you recommend?

Something like - http://www.amazon.co.u​k …keywords=backgr​ound+stand ?

Although it looks like that's just two light stands (which I have) - Just need a 'cross' bar

In a pinch you can make a crossbar out of electrical conduit piping. As to your question, seamless paper is really nice and convenient, doesnt wrinkle and you can simply cut off the bottom and start over if it gets dirty. But given the cost to ship and oversized packaged it may not be a good option unless you can find a local source.

gonzogolf wrote in post #16387755
In a pinch you can make a crossbar out of electrical conduit piping. As to your question, seamless paper is really nice and convenient, doesnt wrinkle and you can simply cut off the bottom and start over if it gets dirty. But given the cost to ship and oversized packaged it may not be a good option unless you can find a local source.

I like the idea of paper, presume it could get quite expensive though? Wouldn't even know where to begin locally, will investigate though

sancho1983 wrote in post #16387777
I like the idea of paper, presume it could get quite expensive though? Wouldn't even know where to begin locally, will investigate though

Paper is reasonably affordable, cheaper than high end muslin, probably about the same price as bargain muslin. It doesnt wrinkle so you save a lot in setup time. However if you do like the look of muslin and have a bit of DIY in your blood take a look at this. http://www.diyphotogra​phy.net …in-photography-background

Its very simple and if you start with light colors once you get bored you can go to darker variations or straight to black.

sancho1983 wrote in post #16387749
Thank you.

What sort of stand would you recommend?

Something like - http://www.amazon.co.u​k …keywords=backgr​ound+stand ?

Although it looks like that's just two light stands (which I have) - Just need a 'cross' bar

Yes, that stand should work. If using that, you'll also want some sort of clamp, like an A-clamp, to keep the paper from unrolling by itself.

Re the seamless paper, if you search Amazon, you should get a few hits. A few might even ship for free.

Seamless paper is easy to work with especially in studio. However, it will wrinkle, tear and get dirty quickly. You'll typically get multiple uses depending what you are shooting, but damage is inevitable so factor replacement cost. A practical limitation is transporting a large roll on location when you need a wide background. (Will a 9 foot roll fit in your vehicle?)

Vinyl is easy to work with like paper and more durable. It can be used around liquid and many stains can be cleaned off easily. Width and color selection are usually limited. Having white around is convenient for smaller high key setups and also good when you need a large reflector. Being waterproof is an advantage outdoors.

Muslin is easy to transport, available in large width and comes in a great selection of colors and texture. True, wrinkles are an issue, but good lighting technique minimizes this along with misting the whole surface with water using a spray bottle during setup. Keep the background far enough away from your subject so it is slightly out of focus. Black typically hides any wrinkles and white can be intentionally blown out using lighting. Mottled colors are more forgiving and wrinkles shot with bokkeh can end up looking like plaster or stone if desired. Some colors can be draped well for effect, or flipped to the reverse side for a variation.

CAPhotog wrote in post #16389933
Seamless paper is easy to work with especially in studio. However, it will wrinkle, tear and get dirty quickly. You'll typically get multiple uses depending what you are shooting, but damage is inevitable so factor replacement cost. A practical limitation is transporting a large roll on location when you need a wide background. (Will a 9 foot roll fit in your vehicle?)

Vinyl is easy to work with like paper and more durable. It can be used around liquid and many stains can be cleaned off easily. Width and color selection are usually limited. Having white around is convenient for smaller high key setups and also good when you need a large reflector. Being waterproof is an advantage outdoors.

Muslin is easy to transport, available in large width and comes in a great selection of colors and texture. True, wrinkles are an issue, but good lighting technique minimizes this along with misting the whole surface with water using a spray bottle during setup. Keep the background far enough away from your subject so it is slightly out of focus. Black typically hides any wrinkles and white can be intentionally blown out using lighting. Mottled colors are more forgiving and wrinkles shot with bokkeh can end up looking like plaster or stone if desired. Some colors can be draped well for effect, or flipped to the reverse side for a variation.

Thanks, very informative. I've seen online a paper roll but they seem to be £60 or so each (and not very wide ones at that) for only about 10m, which doesn't seem like it will last an incredibly long time. Plus, if I wanted 2 or 3 colours it would soon add up.

Cloth seems to be a bit cheaper, but then comes with its own problems. Need to just buy something I think!

Or get just one backdrop, get a chromakey green one and learn to extract well so you can put them behind any digital background you want: downloaded or created by yourself.

Shooting wrote in post #16398937
Or get just one backdrop, get a chromakey green one and learn to extract well so you can put them behind any digital background you want: downloaded or created by yourself.

I am leaning towards getting a grey one and using gels to get different colours. Over expose and it's white, under and it's black as well so quite versatile maybe.

I like the idea of green screen but not sure how well I'd be able to drop in a new background and keep it looking natural

Muslin wrinkles aren't really a problem unless you don't have a lot of room. If you have space, you can "eliminate" wrinkles with your lighting (subject farther away from backdrop), over/under exposing the background, or even your DOF. It is easier to deal with storage and moving wise than paper, that's for sure, but paper is easier to deal with set up wise and for standing on.
I have a roll of grey paper. Easier to fool with than muslin but they both have their uses. Try to stay away from huge muslins, they are really a PIA.

sancho1983 wrote in post #16398977
I am leaning towards getting a grey one and using gels to get different colours. Over expose and it's white, under and it's black as well so quite versatile maybe.

I like the idea of green screen but not sure how well I'd be able to drop in a new background and keep it looking natural

Just so you know its not particularly easy to light a gray drop and make it white. It is possible, but you have to dedicate two powerful lights to make it happen and most studios are not sufficiently stocked with enough lights that you can use to overpower the key and main to blow out the drop. If you look here many people have issues making white drops white, let alone making gray white.