![]() ![]() In a large studio, this can be done by simply moving the model further from the backdrop. The general goal is to create good light on the subject while also protecting the background from it. This means flagging lights, adding additional grids/ snoots, or even taping over them to decrease any chance of light spills. To add to that, it is a good idea to make sure that every bit of light exiting the flash is controlled so there is no bounce happening. Whenever photographing someone/something on a solid black background, using a grid on the lights is the best place to start. Useful tips and tools to remove light are increasing the distance of the subject from the background, using grids to control the light spread, flags to block and channel, and black styrofoam boards (V-Flats). Lighting black backgrounds can be more challenging because the light is removed instead of added (something that not all photographers know how to do well). Of course, a simpler way would be to use a black backdrop, but even then it can still reflect some light, so we still need to be smart with our lighting to make it work. Direct flash to show the background A grid is added to a softbox and adjusted so no light falls onto the background A reflector is added to for fill light Wider view of the scene so farīlack foam core/flags are added to help control any light spill The best way to achieve that is by placing a reflector or white styrofoam. Adding some fill light will brighten up the shadows, but it can be done in a way so that the background remains underexposed. The first piece of gear useful for this is a black “ flag” or a piece of black styrofoam ( V-flat) to block some of the light.Īdditionally, a grid was added to the softbox to create soft flattering light, but also to control it so it only hits the subject’s face. To create the solid black background we need to be sure there is no light hitting any of the nearby surfaces and reflecting back into the camera (No light can hit the backdrop). The image was done with a simple straight-on flash that looks unflattering and does not achieve our goal of having a black background. In the portrait below we use a white wall for the first picture to illustrate how doing this is possible almost anywhere. While it may not obvious, a black background can actually be created when shooting against a white wall. It requires switching from overexposing to underexposing. Photographing a smooth black background is the opposite of creating a solid white one. Typically you’ll want at least 4-5 feet from the background for this. Remember to give enough space between your subject and the background to avoid light flares. Your goal must be to evenly illuminate the whole background and this is best done with a large light source such as an umbrella or a beauty dish. To avoid this issue, be sure to always set the light power from low to high and stop where the background is the right tone.Īlso, beware of the wrong light positioning. While these are not huge issues in digital photography since it can be fixed in post, it can be a major pain when shooting film (as some clients request) and will still be annoying to have to fix in every image after the fact with digital. Especially if the background light is really powerful as it may even create unwanted flare which will decrease the overall image quality and detail by a lot.Īnother issue that one may encounter is the overexposed white turning into a nasty magenta or an unflattering green that will appear if it is underexposed. But if we do that, the background will start acting as a light source and messing with our overall image. It is easy to think that a perfectly white background is just a massive overexposed blob, so the instinctive move may be to simply blast it with light. Using larger modifiers makes the light softer and more even.
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