Photo backdrop materials

A good background can greatly enhance a studio photo, whether it is a portrait or a still life. Generally, I try to select a background that ether complements or contrasts with the subject in terms of colour, tone and texture. In terms of material, here are the typical choices, with their advantages and limitations:

Paper

Paper is the least expensive material. It is available in many colours and is a better choice than fabric if you want a smooth background. It is definitely the most versatile material, particularly white paper, because it can be made grey, by limiting the amount of light shining on it, or any other colour by illuminating it with a spot light with a coloured gel on it. On the other hand, black paper is not as good as fabric for creating a solid black background, since it is more reflective.

The disadvantage is that paper gets dirty and wears out relatively quickly (from models standing on it). It can be argued that considering the cost of replacement, paper is the most expensive choice over a long time. However, the dirty part of the paper would be only under the models’ feet, where it is typically not very noticeable in the photos. Also, I have learned about a hack (is it the new work for “trick”?) of using a 4′ x 8′ of glossy white wallboard from a home improvement store as the surface for the models to stand on (the paper would be underneath the plastic). The line where the paper and the plastic meet would not be visible in the photo, since the paper curves under the plastic sheet.

Fabric

Cloth backgrounds are slightly more expensive than paper. They can be changed very easily, and are more durable than paper, but it’s not recommended to stand on them.

Fabric is the material of choice for the black background. Conversely, it does not work well for solid white background – you would need ridiculous amounts of light to blow out the shadows on the tiny wrinkles. With white or grey fabric, any colour, except for very saturated colours,  can be created by using spotlights with gels. I also like mottled cloth backgrounds: I have one in cool grey and one in warm brown colour. I find that it’s almost necessary to blur the fabric background by using shallow depth of field.

Another feature to consider is the amount of storage space the background requires when not in use. If you don’t have  a dedicated studio space that is set up for photography all the time, then fabric backgrounds take the least amount of space when folded for storage.

Vinyl

Vinyl backgrounds are heavier and more durable, but also more expensive. They crease easily and slippery to walk on.

A support stand is needed for any type of background, and in case of fabric, some clamps are very handy.

Note: While green or backgrounds are commonly used for composite video, it is much better to use a grey background for composite photos. The reason is that a green background would cast a very unnatural reflected light on the edge of the model (e.g. the tiny hairs on the skin), and it would be very difficult to make a selection in Photoshop to get rid of this green edge light.