White backdrop lighting advice

gonzogolf wrote in post #17769702
You are actually arguing for the one light method. She can move around without interference from background lights or stands and the large single light covers the width of the drop nicely. I used that method to shoot dancers (not ballet) and the attention span was roughly the same.

The light perhaps yes, but the key factor is that the 2 year old will mess with the back drop and so she needs to be away from it.

I'll try both. But I know I have to keep her off the backdrop, she instantly plays patty cake and dives into it because she knows it's there.

Very best,

I've had very good luck with a strobe into an umbrella on either side behind the subject lighting the white background only. I set the strobes so that the meter facing the backgound meters the same as when facing the key light. That gives me the same light on the subjects back as their front. It woks very well for white-on-white also without blowing out and overlighting the outline of the subject. I only wish I could remember where I learned this.

If you have the space, certainly V-flats (e.g., two, 4' x 8' white/black sheets of Foamcore, taped lengthwise to form a 'V') are the way to go, and is generally the way pros light all-white coves/seamless set-ups. I set up an impromptu white-background set-up recently with only a few feet separating the subject from the background.

I've posted these before in the "set-up" thread, but here they are again for the sake of this discussion. My goal was to illuminate the background paper to just a hair over 255/255/255, in order to minimize any spill onto the subject (especially when distance to the background is so tight):

By the way, if you do have V-flats, these are the most common ways I've seen the background lit on high-profile shoots (e.g., national magazine cover shoots):

• Rectangular softboxes (pointed at the background).
• Strip-boxes (pointed at the background).
• Reflective umbrellas (pointed at the background).
• Strobes with wide-angle reflectors or small softboxes bouncing into the V-flat.

Heya,

Thanks for the examples, that's awesome. Unfortunately I don't have all that stuff, but I do have umbrellas and a few softboxes, but only two large ones. I'll try a few methods out.

Thanks again!

Very best,

MalVeauX wrote in post #17769529
So now I'm thinking, what if I just put two speedlites hitting the muslin white back drop directly. My 2 year old needs a break, so we're stopping for now. Will do some more later.

If you're going for a white-backdrop catalog type look, it's nearly always done with 2 (sometimes 4) lights that are only lighting the white backdrop. You typically have some distance between the white wall and the subject, so they have some edge definition and the subject doesn't look strongly backlit. The lights lighting the backdrop should not be directly lighting the subject. The few times I've done this on location, I did it with two speedlites firing into reflective umbrellas (black outside, silver inside, because that's what I have), one on each side. I'll see if I can find a diagram of this setup on the web, it's fairly common. The the subject is lit with a your choice of main light modifier(s): softbox, beauty dish, etc. Subject lighting is 1 to 2 stops down from the backdrop lights, so any shadows from them are whited out by the backdrop lights. Hair light above the subject optional, but looks nice to me with darker haired individuals.

MalVeauX wrote in post #17769529
I have lots of speedlites (YN560III's, 565EX's, several each) and prefer to use them indoors, my 600ws strobe is too much for indoor in general even at 1/128 power unless I heavily stop down my aperture.

How sure are you that the power adjustment on that strobe is working as intended? 1/128 power should be around 4 Ws similar to a tiny built-in camera flash. The Einsteins I used in studio were similarly spec'd, and they could go to very low power levels, well below a 500 or 600 series speedlite's max output (which is more like 50 Ws).

EDIT: I found a diagram that is very close to how I setup up for this kind of shot, apart from the gridded softbox being a lot larger than the Apollo one I have. And often I have a reflector for fill where they show a second strip softbox, or just a smaller speedlite with a Sto-fen on it because I don't own that many portable modifiers. I use silver umbrellas because I'm working with low-power speedlites and need all the efficiency I can get, but white umbrellas when I do this in studio where I have light power to spare (since more diffuse is better). Just don't use shoot-throughs unless you are prepared to also set up big panels to block them from spilling onto the subject.

ABS' example is a simple, effective and inexpensive way to achieve this effect: Two reflective umbrellas with black backings, pointed onto the seamless. Since the power requirement is low, you could relegate the background illumination to a couple of inexpensive Speedlights and two $20 umbrellas.

Ideally, you're aiming for an exposure just above 255/255/255. If you don't have the space for V-flats, two lengths of showcard ("tag board"), white cardboard, or other opaque material may be used as flags to prevent too much spill from reflecting back onto your subject (I only had a single 24" x 36" solid behind the background strobe). Though not always locally available, white/black Foamcore is best (otherwise, white/white Foamcore will do). If you have money to burn, Gatorboard is more durable and is more easily stood upright due to its thickness.

2yr old is going to much easier than adult as you need lot less space to light up evenly. I would use paper over fabric just to make it easier with creases etc. Pull paper and tape it down on front, sides. Make sure light stands are sand bagged so not to fall over. Use two identical softbox or stripbox to light back ground. Put a plexiglass on front where the subject sits or stands to give reflection (if you like that kind of shot). One big modifier on the subject, above camera, for simple lighting which works for kids very nicely. Three lights and you can do it for kids.

Hmm, heres a random question; can these techniques and methods posted to white a background work on grey seamless paper, or do you need specifically a white roll.

chugger93 wrote in post #17772083
Hmm, heres a random question; can these techniques and methods posted to white a background work on grey seamless paper, or do you need specifically a white roll.

Why not? It's just a matter of exposure, isn't it? You can even get a gray or black background from white paper if you adjust the exposure.

Even though gray paper would work why make life hard, I stick with white seemless.

chugger93 wrote in post #17772083
Hmm, heres a random question; can these techniques and methods posted to white a background work on grey seamless paper, or do you need specifically a white roll.

In a studio with strobes, light grey would be workable. But with speedlites, you often don't have power to spare, and this would require more power. Additionally, more light required to overexpose grey means more light spill issues when working in a small space like a client's living room.

absplastic wrote in post #17772256
In a studio with strobes, light grey would be workable. But with speedlites, you often don't have power to spare, and this would require more power. Additionally, more light required to overexpose grey means more light spill issues when working in a small space like a client's living room.

Sorry I would think it doesn't depend on the power of the strobe. It is relative exposure between the subject and the back ground.

bobbyz wrote in post #17772374
Sorry I would think it doesn't depend on the power of the strobe. It is relative exposure between the subject and the back ground.

I think there might be some confusion here. Chiggers question could conceivably be read as whether the technique used for white would also work to keep Gray an even Gray. Or it could be read can you make Gray appear white using that technique. So both responses, yours and absplastics could be correct depending on the way you read the question.

bobbyz wrote in post #17772374
Sorry I would think it doesn't depend on the power of the strobe. It is relative exposure between the subject and the back ground.

It depends on what ends up being the most limiting factor. With low-powered lights like speedlites, there is no guarantee you can overexpose a large enough area of a grey wall while still staying at the shutter speed, aperture and ISO you want to use. If you are happy cranking up the ISO, what you say is true, but I'm assuming for portraits that keeping ISO low is a consideration.

Also, if your setup looks like Malveaux's test shots, where the subject is actually sitting on the floor of the infinity sweep, grey isn't going to be able to be used as white.