Paper backgrounds are versatile and seamless but also don’t last as long as fabric or walls. Paper can be found in a variety of shapes and sizes, depending on your personal photographic needs and shorter lengths typically are less expensive to buy. Backgrounds can absorb and reflect light in a unique way, and depends on the color of the background. In addition, you have at your disposal, free sources of photographic backgrounds that exist in your own surroundings, including parks and walls.

You have the option to choose to work with the existing color of your surroundings, rather than resporting to other things that can cause distraction. Using a wide aperture can help to integrate a background into a portrait in a unique way. As an example, taking a photo of a chef with a background that includes a kitchen or food can enhance the subject. It’s important not to use this technique in a way that adds so many things in the background as to cause distraction from clutter. Varying the depth of field can help you separate the background from your subject.

Before you buy background material, think about the space you will use for your work and its dimensions and portability. Consider an image created by the use of two vertical surfaces slightly split apart, allowing light in from a strobe that is seated behind the surfaces, in the center. The light will illuminate through, creating a gradient effect that runs from top to bottom. Using a neutral grey background, preferably made of paper, will appear to be white if you add enough light and will appear black if you create distance between the light source and your background. If you’re working within a tight budget, this can be one of the easiest ways to enhance your image.

Photo by: Kerry Garrison

Always plan the content of a shoot including use of photographic backgrounds. Consult with a client, or pet owner, so understanding is arrived at what types of shots are desired. Using seamless paper indoors will cut down on soiling, for example, an expensive muslin backdrop. There are number of different types of “poses” such as cute little kittens and puppies sleeping comfortably or possibly bouncing about making good subject matter for some types of playful photographs. Consult with the client about the different types of shots.

Keeping all this in mind, here are some other thoughts to consider when conducting pet photography:

1. Never Use A Flash
2. Get down to the pet’s level for an “eye-level” perspective
3. Always check to make sure camera settings are correct. This is especially necessary when photographing pets that are moving about
4. Do not force any pet to try to do anything that they may not be comparable accomplishing. Let each pet display an individual personality that can be captured by the camera
5. Try to set up in a position that does not attract the pets attention in order to capture some natural poses
6. Patience is one of the key skills necessary for successful at photography
7. Even when shooting indoors, try to place pets in an area near a well-lit window to gain soft natural light
8. Use simple non-competing photographic backgrounds keeping the pet as the focal point
9. Ask the owner if the pet’s collar should be off or on
10. Use some type of attention grabbing the noise or object to get the pet’s ears up for a great shot
11. Always make sure the eyes are clear before beginning the photo session
12. Consult with the pet owner about what types of animal treats to have handy for rewarding a good kitty or pup

Follow these helpful tips for some great pet photos.

Pricey But Dependable Accessory

Although a muslin backdrop will cost a bit more than using seamless background paper , the advantages far outweigh the added amount of money needed to purchase these backdrops. There is a wide variety of different types of realistic backgrounds providing attractive texturing that can add a great deal of sophistication to any photographic shoot. Yet, a muslin backdrop can be quite simple presented in just a single color or may be an absolute work of art and painted by an expert craftsperson. Backdrops can cost as little as $30 and can range all the way up to $400. Therefore, when investing in a muslin backdrop, make sure you’re prepared to properly take care of it by following these helpful hints:

• Never Wash A Muslin Background - even though the manufacturer may suggest that a particular muslin background can be either machine or hand washed, don’t do it. Washing does nothing but degrade the material and consistent washing will do nothing to protect your investment. Handling and storing a muslin backdrop carefully keeping it as clean and dust free as possible is an important step toward preserving your investment.
• Spot Treat Stains - a popular muslin backdrop will likely get good use and be subject to some type of staining over a period of time. The best method used to treat a stained backdrop is to employ a mixture of mild soap and warm water using a scrub brush. Avoid the use of harsh detergents and never use bleach. In the event the stain resists your efforts to remove it, try soaking it overnight to loosen up the stain making it easier to remove with a brush.
• Use A Lint Roller - in order to remove dust and hairs that will inevitably cling to any muslin backdrop when used over the course of time.

Properly caring for any expensive muslin background will allow it to provide years of productive use.

To bounce light, you will want to shine it toward a highly reflective surface. Using a large piece of white seamless background paper makes a great surface. White walls and ceilings are also effective reflectors, or in a pinch a white towel or car reflector can also work as long as it won’t add a color cast to your shot.

Many professionals will bring something to use as a reflector when they go to do a shoot on location. One thing that works rather well is a white collapsible backdrop. There are also portable reflectors where one side is silver and the other side is white. These options easily fold up and are easy to carry with you and have handy when they are needed.

One simple example of how soft light can work is pointing a desk lamp at a wall. When that light reflects off the wall and bounces back it covers a larger area as it hits the subject and will cast a much softer shadow. This technique is also commonly used with reflective photography umbrellas which are often used to create soft lighting against studio backdrops.

Hard light is usually the easiest to achieve because it is very direct. It comes from a single unfiltered light source, such as an uncovered light bulb and shines directly on the subject rather than bouncing or reflecting off a studio backdrop or other surface. The shadows it produces are very dark, and the contrasts it produces in photographs involve very bright highlights and the blacks are very deep. There’s a very hard edge to the shadows and they come off as very distinct, and the shape of the shadow mirrors that of the subject.

When a model is photographed with hard lighting, the result usually isn’t very flattering. Noses tend to cast harsh shadows and things like blemishes tend to be highlighted. Brutal honesty, rather than flattery tends to be the goal.

In landscape photography, hard lighting does better, as it captures many of the textures that wind up looking flat when shot in soft light. For most portrait photography, soft light is the preferred choice.

While hard light comes from a single source, soft light comes from many different sources and from different directions, or the effect could come from a single light source, but only if it is very close to the subject. Deep shadows rarely happen under soft light, and the shadows that do happen are gradual, with soft edges, rather than abrupt ones. Often to achieve a soft light effect, a photographer will arrange for light to bounce off other surfaces before it hits a photographic backdrop.

The sun, while often thought of as a soft light can serve either purpose. When a subject stands in a shadow, or if the day is overcast the light will appear softer than it does it they are directly in the sunlight.

Pick a niche market, something that you excel in. Being an overall great photographer that uses beautiful photographic backgrounds works, but many professionals chose to focus on one group. Weddings, babies and children, portraits–you decide.

Before you hang out your shingle and start advertising, write a sound business plan. It is best to consult a business advisor or financial strategists to get your five year plan on paper. Armed with a budget and projections, you are ready to find a location.

Location, location, location. Rent, buy or dedicate a room or area of your home to your studio. Be sure that your studio is separated from your living area. Also, once you have the perfect location consult your insurance agent. Be sure that your equipment, furnishings and accessories–like the background papers, stands, lights, etc.–are all covered.

Buy your equipment. It is recommended you get the best equipment you can afford for the type of work you will be doing. Best does not always mean expensive; keep in mind that you get what you pay for.

Establish set prices for your services. This is an area that many new professional overlook. Having established prices helps your work toward your financial goals and eliminates the “freebie attitude” friend and family often appeal to. Remember you have to pay for those back drops!

Market your skills. Post flyers and advertise your new business.

How much area you’ll be able to cover with a soft box is determined by the actual dimensions of the soft box. You can typically use a small soft box for portraits or small product photography. For larger subjects however, most photographers will use a large soft box. In addition, there are other things to consider when choosing a soft box:

Anna Myers

Size:

There are a variety of different sizes of soft boxes. The largest soft boxes can run larger than 6 feet long. The larger a soft box is, the softer the resulting light produced. Keep in mind that you should always use a soft box that is larger than your subject, so that the light is evenly distributed.

Quantity:

Most photographers use several soft boxes in a variety of sizes. If you’re focusing on portraits, you’ll probably use a key light in the form of a large soft box and a fill light created by a second soft box or reflector. For macro photography, use a single soft box set close to your subject and lined up with your camera.

Lighting with a single soft box:

Many professional photographers rely on a single soft box for evenly distributed soft lighting. Placing a single soft box on one side of your subject will create a unique shadow on the side opposite the soft box. In addition, you’ll create evenly distributed, smooth light on the subject. In place of a fill light, you can use a reflector, a piece of white cloth or a piece of white styrofoam.

Lighting with two soft boxes:

Set two soft boxes at 45 degree angles on opposite sides of your subject. Adjust the angle to experiment with brightness and adjust the distance between the lights and the subject to create unique details.

For close up portraits, arranging the soft boxes so that one is just above and in front of your subject and the other just below and in front, can even the lighting out and reduce unwanted shadows.

Here are some steps that will help you shoot your next family portrait:

Find a place in your home that has enough room for everyone to sit comfortably. Some locations can include a basement or a large room. Spare, empty bedrooms make great at-home studios.

Next, look at the lighting needs of the room you have selected to be your portrait studio. Remove any window treatments to allow the maximum amount of natural light to come into the room from outside. You can also use two household lamps to add light to your studio area.

Select a background for your portrait. There are different option you can choose from, including a canvas or muslin backdrop. Professional quality backdrops can be purchased from photo equipment dealers or online. You can also choose to use a large, pressed sheet as your backdrop.

Clear enough space in the room to allow at least 10 feet between the photographer and the subject. This distance will allow for enough depth of field to create acceptable photographs.

Set subjects a minimum of one-foot from the background. If shooting multiple subjects, place the tallest of them in the back.

Play around with different poses, heights and styles. Also, move lights around the room to get desired illumination. Have fun and smile for the camera!

Photo by: Amy the Picture Lady

Amanda Nelson Photo

Rembrandt lighting is popular, mainly because it creates an image that has what is known as a chiaroscuro style. Chiaroscuro style is used by different artists, including photographers, to make their work appear more realistic by manipulating highlights and shadows. As a result, images look more three dimensional. Rembrandt lighting doesn’t have to involve the use of artificial light sources, because you can utilize natural or existing lighting for the effect. Placing your subject into the lighting and not the opposite, helps to create a Rembrandt effect.

The most important factor in Rembrandt lighting is the way you place your subject in the light in a way that creates a triangle of light under their eye when you turn their head. The triangle of light is typically found on the eye that lies furthest away from the lens however this is not always the case. Instead of focusing on that triangle, it’s more important to ensure that one side of your subject’s face is well lit by the main lighting source while also creating a nose shadow on the opposite side of their face. The triangle of light under the subject’s eye fades into the shadow on the side of their cheek.

Geometry and its rules play an important role in Rembrandt lighting. The bottom of the triangle that lies under the eye should not be larger than the width of the subject’s eye. The height of that same triangle should be equal to or less than the length of your subject’s nose, vertically. Keep in mind that this does not create a right triangle, so there will be no discernible hypotenuse. Instead, no two sides will create more than a 90 degree angle and no two sides will form an angle of less than zero degrees.

What’s most important is not the exact shape of the triangle but the illusion of depth the image creates.

Important factors to consider when taking portraits include being aware of subject fatigue. Subjects often have to sit still in awkward or physically challenging positions and may require a break between poses to relax and take strain off joints and muscles. You also want your subject to look as natural as possible, so allowing them to rest between shots can create a more natural result.

Another important technique in taking portraits is to flatter your subject by minimizing their nose. This can be accomplished by standing away from them approximately 12 feet, so that the nose isn’t quite so prominent. Unfortunately, because you’re taking a portrait, you’ll want to fill much of your frame with their face, so you will also need to work with a zoom lens. This usually means working with something like a lens between 90 and 135 millimeters long, if you’re working with a 35 millimeter camera.

Lighting is extraordinarily important for portraits too and using natural light or an umbrella can help soften the light and reduces shadows that are cast on your subject. If you’re a fan of high impact photography instead however, which is dramatic and uses strong light and high contrast, you’re better off working with indoor lighting. This type of portrait is accomplished by positioning your subject at angles that are different from those of the light, such as from one side or even under the subject. This approach helps to make shadows longer instead of making them less prominent and creates a dramatic image. One way to achieve this is by placing your primary light source at a 90 degree angle to your subject’s face. This puts a dark shadow on the entire opposite side of the subject’s face. You can also add shadows and manipulate them in your post processing.