You can independently choose and buy studio backgrounds in the corresponding catalog at the link provided. And below we will talk about what is important to pay attention to when choosing a device.

Material of manufacture and sizes of backgrounds

Backdrops for photography are paper, fabric, non-woven and plastic. Separately, you can highlight the "paint" — correctly painted walls of the studio, which also serve as a background for filming. Consider the strengths and weaknesses of each material.

paper backgrounds

Such backdrops are most common in professional studio photography due to the variety of formats and the perfect characteristics of paper as a backdrop for filming. They are not without flaws, but their advantages outweigh them many times over.

Paper backdrops are sold in spools with a rigid core that eliminates backdrop sagging and makes it easy to install in the studio. Thick cardboard is used as the material for the manufacture. It does not glare, the light falls softly and does not form reflections of objects. Due to the elasticity, the paper background does not wrinkle and does not form waves, and the transition between the wall and the floor is gentle. Another important argument in favor of paper is the lack of texture — even a very sharp lens will not capture details distracting from the subject. In addition, paper backgrounds are available in a very wide range of colours, which makes it possible to choose the best set of backgrounds for your shooting preferences.

Now let's talk about the disadvantages. Paper spools take up a lot of space, they are not so easy (and even necessary?) To use outside the studio. But this is rather a feature of the format, another thing is the expense. Paper backgrounds are not in vain represented by sheets 11 metres long and more. Although the material is dense, it is still very easy to damage or stain it. Light-coloured backgrounds are most susceptible to wear. When the lower part of the background is thoroughly damaged, it is cut off and a new piece of paper is unwound from the reel. Background wear rate is very individual.

Paper backgrounds are available in several standard sizes: 0.66 x 11 m — for product photography, fits perfectly on a table 60 x 130 cm; 1.27 x 11 m. — portrait shooting in a small studio; 2.7 x 11 m — a universal option for amateurs and pros; 2.7 x 46 m — an economical option for studios with numerous filming; 3.6 x 30 m — if the width of 2.7 m is not enough. Since the cores of the spools are cardboard, a background that is too wide can be adjusted to fit the size of the studio by cutting off the excess with a wood saw.

Fabric backgrounds

Fabric backgrounds are also very popular and have both advantages and disadvantages compared to paper backgrounds. First of all, the fabric is good for its versatility — the backgrounds can be hung on racks or wrapped around objects, such as a sofa or chair, the background can be packed in a bag and taken on location shooting. Fabric backgrounds are made from durable material that is difficult to damage and can be cleaned, and some can even be washed. If paper backgrounds are made in one colour, then fabric backgrounds can have colour gradients, be spotty or artistic (in fact, such a background is a picture in which the photographer adds a character).

The disadvantages of such backgrounds include wrinkling and explicit texture. There is even a way to hang a fabric background on a crossbar, with side lighting waves can appear — the matter does not have sufficient rigidity to hang absolutely evenly. After transportation and storage, fabric backgrounds have to be ironed, which, given their size (for example, 3 x 6 m), is not so easy. The visibility of the background texture in the photo can also play a bad service, diverting the viewer's attention from the subject. It is important to understand that all the described shortcomings are conditional. So, the wrinkle of the fabric can be used to give a certain atmosphere to the picture, as well as its texture.

Fabric backgrounds on flexible holders (twist-flex) stand apart. They are flexible, easy to fold hoops, the fabric of which, due to tension, does not require ironing. The main disadvantage of such backgrounds is their limited size, usually less than 2 m on one side. Often they are used for portraits in studios and on the road.

Non-woven backgrounds

The non-woven backdrop borrows qualities from both paper and fabric backdrops. "Non-woven" is a synthetic fabric that has a cellular structure. Such backgrounds are represented by two textures: regular and velvet (velor). The latter is mainly used in subject shooting.

The main advantages of non-woven backdrops are low cost and durability. In addition, they are suitable for use in conditions where fabric and paper fail, such as when shooting aqua. Of the shortcomings, it is worth mentioning the obvious and "unnatural" texture, overall dimensions (sold in rolls with a rigid base), which greatly complicate transportation, and the difficulty in washing. You can’t fit such a background in a washing machine, but it’s very possible to bring it into a divine form with a sponge.

Plastic backgrounds

Plastic backdrops come in hard plastic or vinyl.

The first are the most durable, but very limited in scope. Plastic backgrounds have a smooth surface that not only glares, but also forms reflections of objects. Because of this, as well as the difficulty in using overall backgrounds, they are usually used for subject shooting, installing on subject tables.

Vinyl backdrops are considered the best plastic backdrops. They have a matte surface, and therefore do not glare, are strong, durable and easy to clean. These backdrops are great for portrait and advertising photography. The only thing that prevents them from pushing paper backgrounds off the podium is the price. A good vinyl BD background costs significantly more.

"Dye"

Some studios completely in vain ignore "paint" as an additional background for filming. Professionals, on the other hand, weightily state that well-painted walls of a room (usually in grey and black tones that do not give stray light) can serve as an excellent background. Paint, theoretically, is capable of giving any texture and having any reflective ability, it is easy to clean (and what is not washed is painted over). And the range of possible colours and shades is incomparably greater than that of any of the above materials. Unless it is possible to quickly change such a background.

Ways to set the background

How to install a studio background directly depends on its type. Full-length oriented paper and vinyl come in rolls that need to be mounted higher. For this purpose, a variety of mounting systems are used, which can be divided into three types: wall, spacers and tripods.

The first ones are the most reliable, but do not imply the ability to quickly change the location of the background. Yes, and it will be possible to place it only against the wall. Spacers give more freedom, but they are not possible in very high rooms, as well as in studios with false ceilings. Both types of mounts can be equipped with electric drives for unwinding spools of backgrounds. Small coils, as well as fabric backgrounds, can be placed on tripods (both self-assembled and ready-made systems) and racks. This method of installation is good for its mobility — the background can be quickly moved within the studio or used on the road.

Recently, "cellular" designs have gained popularity. When assembled, they are light and compact, and when unfolded, they allow you to securely fix a background measuring 2 x 3 m, which is enough even for full-length group portraits. Cells are used mainly for location shooting, but are also suitable for a small studio.

The subject table is the best solution for shooting small objects. It is a frame made of aluminium tubes with a set of fasteners in which a plastic background is fixed for shooting. The object stage has many advantages — you can choose a model of the perfect size for your needs, the lack of an angle between the vertical and horizontal surfaces, combined with uniform lighting, simplifies image processing, including the ability to etch the background. And the transparency of the plastic allows you to use the through illumination of the background.

Studio background colours

No matter how unique the preferences of each individual photographer may be, there is a universal set of colours for studio backgrounds: white, grey and black. Of course, your palette is not necessarily limited to these three basic colours — you can purchase a background in burgundy or pale blue, it all depends on the personal preferences of the photographer.

Separately, it is worth mentioning the backgrounds of chroma key colours — green and blue. Such backgrounds are intended to be further replaced by another background during computer processing. Green is commonly used in movies, while blue is preferred by news media. It is these colours that are taken as initial ones, since they are rarely found in clothes and are convenient for automatic replacement, both after the shooting process and in real time.